中文名称：Laughin' to Keep from Cryin'
资源类型：APE
发行时间：2000年02月29日
专辑歌手：Lester Young
地区：美国
语言：英语
简介：


专辑名称: Laughin' To Keep From Cryin'
专辑歌手: Lester Young, Roy Eldridge & Harry 'Sweets' Edison
发行日期: 2000-02-29
专辑语种: 英语
专辑类型: 爵士
唱片公司: Verve Music Group
压缩比率: 694 kbps

专辑说明:

●企鹅爵士评鑑三星半＊＊＊(＊)精采推荐

萨克斯风大师Lester Young是摇摆乐的巨人，也是酷派爵士萨克斯风最佳音色的定义者，他的演奏风格深深影响到后来的Miles Davis及其他萨克斯风后进，而其亲切的待人处世态度，深获Billie Holiday推崇，同时他也是Count Basie最喜欢合作的伴奏乐手。四○年代，Verve唱片公司的创办人Norman Granz网罗他参加JAPT音乐会，让他在人生的最后十年内扬威国际广受好评。

《破涕为笑》专辑是Lester Young为Verve唱片公司所灌录最后一张录音室作品，参加演出的乐手，皆为当年一时之选，特别是两位超级小号手Roy Eldridge和Harry "Sweets" Edison这两位与他合作多年的好友，一秉过去「堪萨斯城六人组」及其他大乐团时的默契，加上担任钢琴的Hank Jones与吉他手Herb Ellis两位后来独当一面的爵士大将，更让专辑的历史性、艺术性达到满点。

转自:http://www.books.com.tw/exep/cdfile.php?item=0020096103

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关于专辑:

Lester Young didn't believe in looking back. But this album, recorded just a year before his death, was nonetheless in some ways a throwback to the early days of his fabled career.

For one thing, on two tracks the great tenor saxophonist played clarinet -- marking the first time he had been heard on record on that instrument sin the Thirties. For another, he was partnered on the front line by two of his favorite colleagues from the Swing Era, Sweets Edison and Roy Eldridge. With their help, Young once again sent timeless messages of joy as well as of sorrow. It's fitting that the last great solo statement of his studio career is on "They Can't Take That Away From Me."

转自:http://www.vervemusicgroup.com/artist/rele...=10593&aid=2708

关于艺人:

Lester Young was eccentric, to say the least. He held his saxophone almost horizontally. Although heterosexual, he affected homosexual mannerisms, addressing everyone, male as well as female, as "Lady". He wore a pork-pie hat and never played a ballad without first learning its lyrics. When he was younger, his tone was so close to that of his soul mate, Billie Holiday’s singing voice that Holiday’s own mother often couldn’t tell them apart. Never the same after being court-martialed and confined to a stockade during World War II, he spent his final days in a rented room across from Birdland, staring out the window and listening to Frank Sinatra records. And so on and so forth.

Some of this is truth and some of it myth, but none of it would be of more than passing interest to us now if Young hadn’t been among the greatest and most influential of jazz musicians — arguably the key figure in jazz between Louis Armstrong in the late 1920s and Charlie Parker in the late 1940s.

Born in Woodville, Mississippi in 1909, and on the road in backwater towns with his father and two younger siblings in their family band for much of his childhood and adolescence, Young was twenty-seven and already in possession of his mature style when he made his first recordings, with Count Basie in 1936. Jazz lore maintains that each of the leading soloists of that period gained his edge over the competition by developing a unique "sound" — a tone as individual as a signature, resistant to forgery. With its almost imperceptible vibrato and light, airy sonority, Young’s sound was so original that it initially threw many fellow musicians for a loop. By 1934, when Young left Kansas City for New York to replace Coleman Hawkins in Fletcher Henderson’s big band, Hawkins’s big, robust tone was considered just and proper for the tenor saxophone. What soon became clear was that in Young’s case, no less than in Hawkins’s, sound was determined by conception. Hawkins needed an ample, vigorous tone in order to accent the strong beats in each measure and meet each upcoming chord change head on. Young, whose approach was more eliptical, did not.

Young spawned at least two schools of tenor saxophonists: one, mostly white and exemplified by Stan Getz, that took as its starting point Young’s cool timbre and uninsistent pulse; the other, mostly black and typified by Gene Ammons, inspired more by his held notes and subtone honks. There are echoes of his phrasing in the work of saxophonists who otherwise sound nothing like him, including Paul Desmond, Sonny Rollins, and Wayne Shorter. But his influence transcends the saxophone.

A case could be made for Young, whom Billie Holiday nicknamed Pres (short for President), and who died five months short of his fiftieth birthday in 1959, as the first jazz modernist, based solely on his refusal to let bar lines dictate the length or destination of his phrases. If only in terms of their rhythmic flexibility, Young’s earliest recorded solos with Basie anticipated bebop by a good ten years. And though he was essentially a linear improviser, his sophistication in implying rather than spelling out most of the notes in a chord provided a model for developments after bebop, including so-called cool jazz, pianist-composer Lennie Tristano’s harmonic extrapolations of standards, and Miles Davis and John Coltrane’s investigations of modes and scales.

Francis Davis

May 2000

Excerpted from Ken Burns’ Jazz: The Definitive Lester Young

转自:http://www.vervemusicgroup.com/artist/default.aspx?aid=2708