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| 教 育 專 題 深 入 報 導《2004-04-30》 |
| 本期內容 | |
| ◎ 35th紐奧良爵士音樂＆傳統文化節 Jazz律動在地生命力 | |
| ◎ 徵人啟事 台灣立報招募新聞好手 | |
| 35th紐奧良爵士音樂＆傳統文化節 Jazz律動在地生命力 | |
| 編譯 賴明芝 | |
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第35屆「爵士樂饗宴」於上週末在美國南部風光明媚的紐奧良市展開，估計將會有數萬名的爵士樂迷前往參加，共襄盛舉。主辦單位表示，活動將在5月2日達到最高潮。 曾被法國人殖民的紐奧良市，街頭隨處可見異國情調。會跑來紐奧良觀光的人，幾乎都是為了追求音樂與美食。由於天公作美，這屆的「爵士樂饗宴」自揭幕後，活動不斷，紐奧良的街頭巷尾處處可以聽到令人聞之起舞的爵士樂。 「紐奧良爵士音樂＆傳統文化節」這個非營利組織，還會為遊客們安排各種免費參加的工作坊和講習營，除了成功發揚爵士樂及當地傳統文化的使命之外，該組織成為紐奧良觀光業得以蓬勃發展的重要力量。 由於紐奧良曾經是非洲黑人被運來美國做為奴隸的中繼地點，也因此，非洲的音樂得以在新大陸有了傳播的契機。在與歐洲人的音樂結合後，才有爵士樂的誕生。對爵士樂迷而言，美國的紐約和紐奧良都是不可錯過的城市，一北一南，都是爵士樂的聖地。 即使身在台灣無法親自前去紐奧良參加這場盛事的民眾，還是可以透過「紐奧良爵士音樂＆傳統文化節」的官方網站（www.nojazzfest.com）感受一下爵士樂文化。明亮的用色和充實的內容，絕對可以讓你透過這個網站了解到爵士樂在紐奧良的生命力，更可以清楚看到紐奧良市民對保存在地文化的用心。 值得一提的是，今年的「爵士樂饗宴」除了彰顯該活動已邁入第35個年頭之外，今年的活動還要慶祝南非獨立10週年這件事。也因此，今年會有近百位的南非音樂家和藝術家加入「路易西安那州傳統文化節」，使之成為美國對南非獨立10週年最大的稱頌。幾位南非最傑出的音樂家則會參與「爵士樂饗宴」傍晚音樂會的演出，以及為遊客安排的研習營和研討會。由於紐奧良和非洲的連結相當強烈，當地經常被外界認為是美國保留非洲文化最深的城市。 既然該活動有文化傳承的使命，主辦單位甚至安排了讓小孩子表演爵士樂的場地和時段，讓大家看看這些爵士樂文化的新新種子。可謂用心良苦。今年焦點之一是一名年僅12歲的加拿大爵士樂手Janelle Dupuis。 In the spring, a music-lover」s fancy turns to Jazz Fe-st – just as it has ever since 1970. The affair continues when the 35th Festival begins on Friday, April 23 at 11 a.m. That」s when the music starts at the Louisiana Heri-tage Fair – the official, collective name for all of the great Jazz Fest performances that will resound on the bucolic infield of the historic Fair Grounds Race Track. The Heritage Fair takes place from Friday, April 23 through Sunday, April 25 and Thursday, April 29 through Sunday, May 2. This daytime programming will be complemented by a series of evening concerts and educational workshops, held at a variety of venues and educat-ional institutions. Besides music, the Louisiana Heritage Fair」s singular brew -of crafts, parades, food, and fun-loving folks stimulates our visual, aural, and visceral senses, and reinforces the cosmic link with past generations who have broug-ht us to this happy moment. -By assembling a cohesive and resonant array of cultural riches, from ancestral to cutting-edge, -t-he New Orleans Jazz & Heritage Festival honors -Louisiana」s vast legacy- and its profound influence upon the global community. On Sunday, May 2, Jazz Fest 2004 reaches a resounding climax. In addition to marking the Festival」s 35th anniversary, Jazz Fest 2004 also celebrates the 10th anniversary of South Africa」s independence. Nearly 100 South African musicians and artisans will contribute to the Louisiana Heritage Fair, making it America」s most extensive tribute to the first decade of the new South Africa. Several of these prominent South African musicians will also participate in Jazz Fest」s evening concerts and educational workshops. New Orleans has strong connections with Africa, and is often cited as the American city with the deepest retentions of African culture. Appropriately, many South African musicians will perform at the Congo Square Stage which, this year, has been renamed 『South African Freedom @ Congo Square.』 At the same time, our South African visitors will perform on several Jazz Fest stages, including acoustic performances in the specially created South Africa Pavilion. Heritage is a key mission at Jazz Fest, of course, and the Kids」 Tent offers enriching entertainment for children with underlying, unifying themes of cultural awareness; many performers are young, themselves. Highlights of this year」s lineup include Canadian fiddler- Janelle Dupuis, age 12, etc. The New Orleans Jazz & Heritage Festival」s website is www.nojazzfest.com, which presents up-to-the-minute Festival information and much more. The New Orleans Jazz & Heritage Foundation, Inc., a non-profit institution, is the proud presenter of the New Orleans Jazz & Heritage Festival. The Foundation uses proceeds from the Festival to develop and support special projects designed to preserve and perpetuate the area」s rich music and cultural heritage. 不可不知的路易士阿姆斯壯 美國南方城市紐奧良和爵士樂的關係有多麼密切呢？從該城市的國際機場名字，就可以知道。2001年7月13日，紐奧良市長馬可莫瑞爾（Marc Morial）正式將紐奧良機場更名為路易士阿姆斯壯紐奧良國際機場（Louis Armstrong New Orleans International），而路易士阿姆斯壯正是紐澳良爵士樂發展史的代表人物。 1900年，路易士阿姆斯壯在當地一個貧民窟中出生，父親拋妻棄子，母親賣身養家的環境，讓路易斯阿姆斯壯的同年相當坎坷，甚至在12歲那年進入有色兒童感化院。但也就是這件事，成為他人生的轉捩點。路易士阿姆斯壯在感化院裡學習吹小號的技巧，爾後他在小號方面的表現與成就，讓他成為世界上最讓人無法忘懷的爵士樂手。莫瑞爾市長簽署法令，將紐奧良機場更名，目的就是為了紀念這位「紐奧良之子」路易士阿姆斯壯。這座機場是在1940年代中期開始運作的，到了1962年的時候，這座機場開始具備國際機場的規模。 小號手路易士阿姆斯壯這位當代爵士大師，以精湛流利指法與快活響亮的的即興演奏，改變了後代的爵士樂觀。至今能與他的音樂影響力匹敵的大概只有查理帕克（Charlie Parker）。路易士阿姆斯壯出生於1901年紐奧良貧民戶，自幼他的父親威廉阿姆士壯即拋棄了家庭。他的童年就跟低階層的黑人沒什麼兩樣，青少年時期的他一度因為過新年時對空開了一槍，被抓進了感化院。 他的人生並未因坐牢頹廢，他在感化院裏學會吹奏小號，這是他第一次接觸音樂。14歲出獄後他到處打零公，此時的他還買不起任何樂器。青少年時期的他非常喜歡到酒吧聽奧立佛國王的演奏，奧立佛視他如自己的親生子，送給他人生中第一把小喇叭，並教導調教他吹奏的技巧。 18歲的阿姆斯壯，就已經已經在紐奧良、聖路易等地方聲名大噪。1919年他的師父King Oliver離開樂團前往芝加哥，阿姆斯壯接替了他的位置成為當時最熱門樂團「娃娃歐瑞」（Kid Ory）的小號手。1922年在King Oliver的帶領下，加入了他在芝加哥的樂團。紐奧良爵士就這樣被帶進了芝加哥。阿姆斯壯更在1922年與1924年之間錄製了一系列的專輯，充分顯現出其卓越獨特的音樂風格。他的音樂概念跨越了時代的接軌，卻又不是亂無章法，反而是引導爵士樂邁向更具便化性與創意方向的一步。 阿姆斯壯加入紐約Fletcher Henderson大樂團時期，是他音樂生涯的黃金時期，由於他的表現過於出色，當他離團之後沒有辦法找到能代替他的小號手，韓德森與樂團的編曲主任唐瑞德曼研究之後，將阿姆斯壯的演奏分解開來，用整個樂團來模擬，某些人負責模仿他在節拍間即興穿插的裝飾音，在當時各大樂團皆紛紛仿效這個做法，這就是爵士樂後期搖擺樂（swing）的來！ 阿姆斯壯1930年代開始偏重演唱，他的聲音吵啞，也不是什麼天生金嗓子，但他賦予歌唱與演奏同等的情感，拋開了傳統上演唱者附屬的角色定位，使歌手成為主流音樂藝術家，受他影響的歌手包括貓王、法蘭克辛那屈、平克勞斯貝、以及他的最佳演唱夥伴艾拉費茲傑羅等，其中膾炙人口的「Moon River」、「What a Wonderful World」等等經典名曲，讓他成為世界知名的藝人，影響力超越了音樂範疇，笑口常開的形象，有著一個「Satchmo書包嘴」的外號。阿姆斯壯讓爵士樂能夠推廣至世界上每一個角落，對美國黑白種族融合貢獻極大。後人為了紀念他，將紐奧良國際機場改為「路易士阿姆斯壯國際機場。 Trumpeter Louis Armstrong was jazz's first great innovator, a musician who synthesized melodic and rhythmic ideas which had been floating around since the music's earliest days of development. His improvisational approach set a standard and rapidly became widely influential, until eventually he grew into a world-wide figure much larger than the genre that spawned him. For years the story went that Armstrong was born on the 4th of July, 1900, a proper mythic beginning--but it was actually July 6, 1901 in New Orleans, Louisiana. A child of poverty and a street urchin, he first took up cornet while incarcerated in a juvenile facility during his (and the century's) pre-adolescence. His talents were quickly noticed on the New Orleans scene and his first major gig was with the legendary trombonist Kid Ory in 1918. In 1922 he left his hometown to join a band led by fellow expatriate King Oliver, who had taken the new music north to Chicago. It was during this period that Armstrong made a series of recordings ('22-'24) which showcased his already advanced style. Like other jazz epoch-markers--Bird and Ornette specifically--Armstrong's new concepts seemed a logical progression, as though he were discovering something that had pre-existed but not yet been articulated. He next joined the Fletcher Henderson big band in New York, where he again led the pack in terms of easeful invention, and in 1925 began an extraordinary set of recordings as the leader of a group called the Hot Fives, which sometimes became the Hot Sevens ('25-'28). It's here that the legend solidifies. Although the trumpeter was to remain active for almost another half-century, and a vital soloist for at least another 40 years, this brief period represented his innovative peak. Even today his solos on these records have an immediacy that's impossible to resist. While the context may sound a bit musky (though it's a very high-quality musk), his ebullient bravado still sounds shiny and new. During the next decade Armstrong became a world figure, the most recognizable symbol and greatest ambassador of America's new music. Though the New Orleans context in which he first flourished was outmoded by the '30s, his personal popularity continued to grow and he remained respected and homaged by succeeding generations of young musicians. It was also during the '30s and '40s that he perfected the show-biz aspects of his presentation. Always an inventive and somewhat underrated singer, he eventually became as famous for his mugging, his patter and his ever-present handkerchief as for his trumpet playing. By the '50s and '60s, while still an excellent musician, he tended to be viewed by the general public as a beloved relic of a bygone era. But even after Armstrong's first bloom of great originality had passed, he remained more than just an entertainer. To some the late-period Armstrong seemed Uncle Tom-ish, but his comedic timing was always singular and precise and his alternating masks of grinning ecstasy and wide-eyed mock befuddlement were a mix of genuine emotion and benign put-on. He played his role with broad strokes but always remained too much the master of his persona to be accused of mere minstrelsy. Now that jazz is well into its neo-classical period, Armstrong is being newly appreciated by a younger generation. When approaching his music it helps to keep in mind that he's not some kind of hip vaudevillian museum piece, but an important artist whose creations still have the ability to move us uniquely--and for all time. |
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