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.

This Yesterday Will Never End

This Yesterday Will Never End
This is what I'm thinking right now~

Lars Danielsson - Bird Through The Wall

この曲がきっかけで、Nils Petter Molvaerのトランペットにはまった。。。

Anthony Bourdain - The Layover Dublin Ireland

下一站，都柏林。
比起任何旅遊指南，我選擇Anthony Bourdain。

Los Amantes Pasajeros

Soy Malagueña.
A mi me gusta Pedro Almodóvar.
Es un genio!!!

The Sound Of Snow

From album "Home" (Sunny Side Records，2010）

Sophisticated Lady

"Sophisticated Lady" is a jazz standard, composed as an instrumental in 1932 by Duke Ellington and Irving Mills, to which words were added by Mitchell Parish. The words met with approval from Ellington, who described them as "wonderful — but not entirely fitted to my original conception." That original conception was inspired by three of Ellington's grade school teachers. "They taught all winter and toured Europe in the summer. To me that spelled sophistication."

After Hours is a 1961 studio album by American jazz singer Sarah Vaughan. This was Vaughan's first album with just guitar and double bass accompaniment, it was followed by 1963's Sarah + 2 in a similar vein.

The Allmusic review by Scott Yanow awarded After Hours three stars and said that "the emphasis throughout is exclusively on Sassy's magnificent voice. The program mostly sticks to ballads, with a couple of exceptions...and is a quiet and intimate affair, with Vaughan more subtle than she sometimes was. Despite a lightweight version of "My Favorite Things" that will not remind listeners of John Coltrane, this is an excellent if brief set (34-and-a-half minutes) with some fine jazz singing".

Sarah's accompanied by Mundell Lowe (guitar) and
George Duvivier (double bass). Pictured along with Sarah in video is Richard Davis. Recorded in RKO-Path Studio, New York City, July 18, 1961. (Roulette Records)

Sophisticated Lady

Smoking, drinking, never thinking of tomorrow, nonchalant
Diamonds shining, dancing, dining with some man in a restaurant
Is that all you really want?

No, no, no, no sophisticated lady
I know, you miss the love you lost long ago
And when nobody is nigh you cry

They say into your early life romance came
And in this heart of yours burned a flame
A flame that flickered one day and died away

Then with disillusion deep in your eyes
You learned that fools in love soon grow wise
The years have changed you, somehow, I see you now

Smoking, drinking, never thinking of tomorrow, nonchalant
Diamonds shining, dancing, dining with some man in a restaurant
Is that all you really want?

No, no, no, no sophisticated lady
I know, you miss the love you lost long ago
And when nobody is nigh you cry
You cry
You cry

[ECM 1058] Steve Kuhn - Ecstasy (1974)

All Artworks by Midori　 (from my  out of print ECM LP) 

Steve Kuhn - ECSTASY

Steve Kuhn piano

"Silver" - 8:49
"Prelude in G" - 4:26
"Ulla" - 7:23
"Thoughts of a Gentleman - The Saga of Harrison Crabfeathers" - 12:16
"Life's Backward Glance" - 4:45


All compositions by Steve Kuhn
Recorded at Arne Bendiksen Studio in Oslo, Norway on November 1, 1974

ECM 1058


Steve Kuhn、1974年のピアノ・ソロ。極めて耽美的で官能的な演奏だが、それだけでは無い。狂気や激情が迸る、圧倒的な名盤。もう何十年も聴いているけれど、何回聴いてもやられる。


Review by Ken Dryden

Steve Kuhn performs five unaccompanied originals on this 1974 studio session recorded in Norway.

"Silver," his fascinating opener, is a haunting ballad with many faces, occasionally mysterious, but generally shimmering.

"Prelude in G" features Kuhn's wide-ranging right hand (bordering on avant-garde at times) over a fairly steady vamp.

"Ulla" is yet another lovely ballad, though the mood changes with a series of single repeated notes and chords in the second half of the piece, possibly symbolizing the passing of time and the fading of a love affair.

"Thoughts of a Gentleman/The Saga of Harrison Crabfeathers" seems like a title more suitable to a Dave Frishberg composition, but this extended work is anything but tongue in cheek.

"Life's Backward Glance" mixes avant-garde and post-bop, with a somewhat classical flavor.

Beautifully recorded by engineer Jan Erik Kongshaug, this out of print ECM LP is well worth seeking.



   今日はジャズ・ピアニスト、スティーヴ・キューンの登場です。現在ではオーソドックスなモダン・ジャズ・ピアニストとして有名になったキューンですが、70年代のデビュー間もない頃はマンフレート・アイヒャーが主催するＥＣＭレーベルに所属する知る人ぞ知る耽美派のピアニストでした。エクスタシーというタイトルのこのアルバムは私の大好きなピアノ・ソロ・アルバムです。1974年録音。オスロ。

　70年代のＥＣＭといえばひたすらこの種の耽美的音世界を追求しておりある種貴重なレーベルという印象です。現在も活動を続けているようですね。

　このエクスタシーというアルバムの1曲目のシルバーという曲を聴いてみてください。まさに究極のピアノ美です。学生時代に4畳半の狭い下宿で何度この曲を聴いたことでしょう。刹那的ではありますが無限大の音空間に浮遊することができます。そして今ここに自分は確かに存在しているのだという至福感に満たされるのでした。当時のキューンのピアノはジャズという範疇ではくれないもっと自由な音楽です。

1.シルヴァー
2.プレリュード・イン G
3.ウラ
4.ある男の物語~ハリソン・クラブフェザー氏の武勇談
5.ライフズ・バックワード・グランス

http://dellton.com/culture/jazz_piano_1/post_111.html






很榮幸，將紐約Jazz Record Center架子上僅餘的Steve Kuhn絕版黑膠全部掃清
（當然，掃清的豈止Steve Kuhn ：D )

一如Ken Dryden所講，
由音響之神 Jan Erik Kongshaug 錄製的這張黑膠，音色通透靚絶
直如唱片名：Ecstasy，令人狂喜 ～

Perrocaliente Tempo Drop

Hey, you aren't buying a bottle,
You're gonna get the seasons in your hand!
Cool ~