いよいよお年を～

見到店名悚然一驚！
心可以洗的嗎？濕洗乾洗？
之後阿嬸拎著一桶水出來在石階上刷刷刷
不知是否在洗心～

這家人將自己間屋定義為心猿型
遲早會有人走佬～

澤野工房（Sawano Kohboh）

ついに行って来ました！

想像より狭かったわ：）
後ろの引き出しから気にいたＣＤを全部出して、
右側の小さい机に置いて、
澤野さんと話しながら入荷したいＣＤを選んだ。

目の前に並んだ澤野レーベルのＣＤは、
正直、あまりにも好み過ぎて、お店ごと全部欲しい！！

大阪、澤野工房、奇跡的な瞬間。

Christmas in Kyoto

静かに、普段は観光客お少なく落ち着くところ です。
寒い雨の中、京都をぷらぷらしてみた。
この町は100回訪れても、絶対に飽きないわー
では、遅れたけどメリークリスマス～～～

風立ちぬ

Le vent se lève, il faut tenter de vivre.
風立ちぬ、いざ生きめやも

Juliette Gréco - La Javanaise

Serge Gainsbourg的作品
Juliette Gréco的演繹
影片是一位義大利攝影師Leonardo Dalessandri
用Canon 5d mark II and nikon lenses拍攝的平凡的某一天

『Ne vous déplaise
En dansant la Javanaise
Nous nous aimions
Le temps d'une chanson』

不必介懷，
至少我們曾在一首歌的時光裡，相戀。




 Jean-Paul Sartre said of Gréco that she had "millions of poems in her voice".
Totally agree!

雪が降る。。。

雪は降る　あなたは来ない

a very tough week...

Smoking, drinking, never thinking of tomorrow, nonchalant.
Diamonds shining, dining with some man in a restaurant.
Is that all you really want?
I know, you miss the love you lost long ago
And when nobody is nigh,  you cry.

You'll never know...

朋友的男友酒精過敏，從來不飲酒
於是，他永遠是將每位飲到騰雲駕霧的朋友送回家的司機；
有一個人，從來不飲酒
於是，他永遠是將飲到騰雲駕霧的朋友揹回家的人。（P.S.你好嗎？）

你們永遠不明白，微醺但未至於醉到斷片的感覺有多麼開心！

今日，我微醉，開心到爆！！

Friends With Kids

My favorite scene in the movie.
I like the way how Jason spoke of Julie.
Nice script!

Nils Petter Molvaer & Moritz von Oswald - 1/1 (EmArcy 2013)

Personnel:
Nils Petter Molvær: trumpet
Moritz von Oswald: programming, recording, synthesizing
Laurens von Oswald: programming, recording, synthesizing


Tracklist:
01. Noise 1
02. Step By Step
03. Transition
04. Development
05. Further
06. Future
07. Development (Ricardo's Dig Mix)
08. Noise 2

Label: EmArcy
Style: Modern Jazz


With the breakup of his trio responsible for the superb Baboon Moon (Sula, 2011), it's been a fair question to wonder: what's next for Nils Petter Molvær? One possible answer is certainly 1/1, the Norwegian trumpeter's debut with German multi- instrumentalist and influential techno producer Moritz von Oswald and his nephew, Laurens. The trio's debut performance at Kristiansand, Norway's 2013 Punkt Festival, while strong, was largely misleading; the show certainly occupied some of 1/1's more ethereal territory, but Molvær and his partners also traveled to far more beat-driven, danceable terrain.

Better, perhaps, for live performance, but being a studio concoction, 1/1 is considerably darker, and all the better for it. Molvær has been playing a lot more unprocessed horn lately, though here it's often drenched in reverb to expand its place in the soundscape.

On the opening "Noise 1," a dark synth undercurrent provides the spare context over which Molvær improvises, leading to a final repetitive motif imbued of both the trumpeter's intrinsic lyricism and beautifully pure tone.

"Step By Step," on the other hand, is more pulse-driven, initially predicated on a simple synth bass line and some spare electronic percussion. More hypnotic than dance-inducing, as the von Moritzs gradually build the track with nearly imperceptible additional layers, Molvær patiently builds a thematic overlay, providing a clear focus all the more compelling for the long spaces he leaves, creating a terrific sense of tension released only when he reenters.

The set's longest track, "Transition," returns to more brooding terrain. There's a pulse, yes, but soft and subtle, buried within the synth wash that provides the shape and, for Molvær the context. It assumes even more form as a deep bass line emerges, though the composition's harmonic center still retains a somber mood. It's hard to know how much of 1/1 was preplanned and how much was in-the- moment, but there are moments, especially during "Transition," where everyone seems in perfect synch: it's not always the trumpeter following the von Moritzs' synth colors and harmonies; there are times when the keyboardist(s)'s appear to respond to Molvær as well. While the trumpeter's tone is largely clean and pure, there are effects, the only question: is it Molvær In real-time or post-production?

That Molvær is comfortable enough in his own skin to avoid virtuosity for its own sake—instead, focusing heavily on tone, melody and the responsive demands of participating in a trio—is part of what has made him so successful. He possesses chops-a-plenty, and the sophistication of his melodic ideas suggests a deeper harmonic language. But the music comes first, and Molvær's attention to space and tonality has resulted in a distinct voice recognizable from the first note. 1/1 may be a sidestep for Molvær or it may be the first of an ongoing collaboration. One more question to be answered, but in the meantime, 1/1 is a compelling debut from a still-nascent relationship that commands attention, but not through obvious means. Instead, 1/1's marriage of Oswald and Laurens von Moritz's brooding electronica with Molvær's intricate melodism makes for a surprising, late-in- the-year sleeper hit.


Review by JOHN KELMAN,
http://www.allaboutjazz.com/php/article.php?id=45782#.UpyVkcSopyU





Trumpet, the only voice that can through this world.