Miles Davis & Marcus Miller -《Music From Siesta》[Japan Mini LP][FLAC]
专辑英文名: Music From Siesta
歌手: Miles Davis & Marcus Miller
音乐风格: 爵士
资源格式: FLAC
版本: [Japan Mini LP]
发行时间: 1987年
地区: 日本
语言: 英语,日语
简介:
出品厂牌：Warner Music Japan
唱片编号：WPCR-12744
唱片介质：Japan Mini LP
音乐风格：Jazz / Fusion / Jazz Rock
专辑介绍：
Miles Davis和制作人Marcus Miller（除了少数片断外，包办了其他所有乐器）的这张专辑的合作相当的成功，并且令人有些意外，因为作为一部鲜为人知的电影的原声来说相当的重要。作为献给指挥Gil Evans的作品，Miller创建了一支令人兴奋的但非常温暖的管弦乐队去作为Davis美妙独奏的伴奏。这部音乐受他的这种风格影响甚大。这个在Miles Davis生命晚期的几次出演中是第一次，返璞归真，才是值得追寻的！（@GoldenEye编译）
Miles Davis & Marcus Miller
Miles Davis简介：
引用
1926年出生的Miles Davis早年去茱利亚音乐学院深造过，但在求学期间就混迹于当地酒吧，并于18岁时录制了首张唱片《First Miles》，1946年，Miles Davis和Gene Ammons合作出了Bebop风格的《Bopping the Blue》，在当时如果你没有Charlie Parker的号召力是很难出头的，Miles Davis在Parker乐队里无法与Parker站在同一高度，为Charlie Parker录唱片的Ross Russell还责怪Miles Davis学习得太慢，但在《Charlie Parker On Dial Vol 4》中，Miles Davis表现出温柔、深思的情绪状态。或许受不了前辈们的轻视，Miles Davis于1947年离开了Charlie Parker，正好逢遇日后也在爵士界举足轻重的编曲家Gil Evans，俩人一谈音乐便很投机，并一起合作了代表一代乐风的Cool专辑《Birth of the Cool》，尽管在这之前钢琴手Lennie Tristano有过类似的尝试。
有一种说法总是贬低Miles Davis：这个人技巧平平，远不及Dizzy Gillespie。可能这是Miles Davis刚入道时的恶劣名声造成的，虽然Miles Davis并非整个爵士乐坛最出色的小号手。但他的思想远远弥补了他的天生弱点，甚至于Davis还创造了一种特殊的表达。听Miles Davis不会觉得只有表面的东西，他太会令你出奇不意了。
在1948年Miles Davis率领的那支九重奏只是一支幕间休息时穿场的乐队，那时的Royal Roost俱乐部是贝西伯爵的天下。九重奏里包括Gerry Mulligan、Lee Konitz、John Lewis、Max Roach这些未来大将。而在这期间，Davis的小号风格更靠近Dizzy Gillespie和Fats Navarro，强调中音区域，音乐更柔和而富有思考性。有意思的是Miles Davis后来还安排Charlie Parker和Sonny Rollins在他的专辑《Collector's Item》中一起演奏。
1951-1954年间，Miles Davis的生活令人捉摸不透，这期间他很少录音，但几乎都是经典，譬如在Blue Note公司录制的《Miles Davis Vol1》和《Miles Davis Vol2》。在五十年代很时尚的乐手中，Gerry Mulligan、Lee Konitz等人皆从Miles Davis那里沐浴到了阳光，那时加州流行Chet Baker闭着眼温柔地演唱“我可笑的情人节”，Miles Davis自然没有这样甜蜜和伤感，他也有点厌烦了乐坛，人都是在不自觉中离自己越来越远，Miles Davis不愿意被人推着走，他要走自己的路。有什么能引起他极大的兴趣呢?在家乡圣路易斯表演吗?继续以全明星的阵容横空出世吗?他的第一批大弟子们一个个都出名成家，他辉煌的第二批弟子们要到60年代才光彩夺目。五十年代对于Miles Davis来说是沉重的，他的健康状况一直不好，不过他几度沉沦又浮起正是从五十年代开始的。一个人一生中能有几次高潮与低潮，下去了还缓得过来吗?但Miles Davis有五次事业高峰，人的精力有限决定了人生在于大多数人只能靠惯性生活，Miles Davis看来是奇迹了。
Album Reviews:
引用
~Allmusic.com:
This collaboration between Miles Davis and producer Marcus Miller (who, except for some cameos, plays all of the other instruments) is quite successful and a bit of a surprise since it is essentially a soundtrack to an obscure film. Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots. It's worth searching for.
~Amazon.com reviewer:
This has long been among my favourite soundtracks, although I've never really tried to analyze why it is. In order to truly appreciate this soundtrack, it is not necessary (and perhaps inadvisable) to first see the strange 1987 Mary Lambert film "Siesta." Watching the odd, discordant film will neither cement nor displace any emotional and intellectual associations created by the work of Marcus Miller and Miles Davis for this bold, deep, fascinating score. The opening track is the first of the five- part "Lost in Madrid" theme, and is haunting and sad, punctuated by Miles Davis' unforgettable trumpet work. The next collection of tracks ("Siesta," "Kitt's Kiss," and the second part of "Lost in Madrid") add to the otherworldly atmosphere of the work. Amidst the touches of Spain (especially in the percussive "Siesta") are intimations of a more abstract plane of existence, in keeping with the theme of the film. The third collection of tracks (or "Track 3" on the liner notes) begins with the languid, sultry "Theme for Augustine," very evocative of some of Vangelis' film-score pieces.
Next, in quick succession, are the very brief "Wind," the metallic, stirring "Seduction," and finally the gentle "Kiss." The fourth track is "Submission," the tranquility of the piece broken by electronic chimes sounds and Davis' urgent trumpet peals. Next is the third part of "Lost in Madrid," this time sounding more eerie and chilling. The sixth track begins with the steamy, syncopated "Conchita," a contrast to the coolness of the previous track. "Conchita" drifts and meanders, adding odd elements like gongs, splashing water effects, and moaning voices. It also sounds more authentically Spanish than many of the tracks. Squeezed into the final minute of the sixth track is the elegent, elegaic "Lament."
The seventh track begins with "Lost in Madrid Part IV," launches into the vaguely oriental "Rat Dance" (which recalls some of the work of electronic wizard Garry Hughes), then closes with the quiet "The Call." This is followed by "Claire," in which Earl Klugh supplies beautiful guitar accompaniment to Miles Davis' trumpet. The classical guitar and trumpet seem to be engaged in a dialogue. This soft, gentle piece is followed by the fifth and final part of "Lost in Madrid," a sort of deconstructed version of the earlier theme. Here, Davis' trumpet notes seem to hover over the piece like the shimmer of heat on a lonely highway on a hot summer day. Davis' mastery of his instrument is unquestionable, as this work bears testament. The ninth track is "Afterglow," which has a sense of the provocative and the dangerous. The work closes with the touching, haunting "Los Feliz." Davis' trumpet finds yet another worthy accompaniment in James Walker's lilting flute work. Miller and Davis have saved the best for last, and it ends the soundtrack off on a beautiful, restrained, and sensitive note. If only the movie were as elegant and tasteful, as powerful and profound, as the soundtrack!
Personnel:
Miles Davis :Trumpet, Main Performer, Performer
Marcus Miller : Bass, Arranger, Guitar, Keyboards, Producer, Multi Instruments,
Performer, Programming
John Scofield : Guitar (Acoustic), Guitar on "Siesta"
Earl Klugh : Guitar, Guitar (Classical) on "Clair"
Omar Hakim : Percussion, Drums on "Siesta"
James M. Walker : Flute on "Los Feliz"
Jason Miles : Synthesizer, Programming
Steve Reid : Percussion
Bernard Wright : Synthesizer
Paulinho Da Costa : Percussion
Michal Urbaniak : Violin
