演出信息

日期/Date：2017年10月19日

入场时间/Door Time：6:00 PM

演出时间/Show Time：7:30PM

地址/Add：前门东大街23号 Blue Note Beijing

23 Qianmen East Street. Dongcheng District. Beijing

电话Tel：170-0000-0288 188-BLUE-NOTE

票价信息

B2剧场票价Ticket Price：

280（边座）/380（主座）RMB

（餐饮低消：60RMB） 

Lineup:

Till Brönner - trumpet, vocal

Abu 阿布 - piano

Till Brönner出生于1971年，被誉为德国乐坛*把交椅的小号手。在科隆音乐学院学习爵士小号，他与阿布一样师出名门：Malte Burba、Bobby Shew……

与众多音乐名家共同创作的*张专辑“Generations of Jazz”一发行便获得Preis der deutschen Schallplattenkritik奖（德国音乐奖）洋溢的才气在业内引起一番风波。自此之后，Brönner的名气锐增，许多国际知名的音乐人都找他合作：Dave Brubeck、Tony Bennett、Mark Murphy……

但他真正在德*喻户晓，是在受邀参加选秀节目The X Factor德国版评委之后。节目在直播后他受邀参加比赛，并赢得了两次The Over 25s Categories。获得名气之后，Brönner决定离开电视节目，全心全意投入到他的音乐创作中。

在意大利出生、在德国学习音乐、在美国做交换生，Brönner的成长背景给他带来国际的音乐观，大胆的创作风格把各种音乐形式融合在一起：起初Brönner把爵士的硬波普和德国的流行乐结合在一起，让人耳目一新；后来，他又将Chet Baker惯用的酷派气音吹法、演唱风格等和R&B、Vocal Jazz、Funky Jazz、Modern Jazz等融合，将多种音乐元素融合到翻唱经典乐曲中，新旧乐曲被Till Brönner玩出一种新鲜的风味。

Till Brönner乐于求新的爵士风范，令他获得全球乐迷的喜爱和赞扬，稳居德国*的地位。至今推出的18张专辑中，有11张在传奇爵士唱片品牌Verve中发行，并长期占据洛杉矶榜单的黄金位置。而Brönner*新一张专辑《The Good Life》在索尼录制，这是他转合约到索尼后的*张唱片，标志加入索尼旗下Miles Davis、Wynton Marsalis等小号巨匠的阵容。

Till Brönner  The Good Life

The gentlest of provocations often have the most lasting impact. Berlin-based trumpeter Till Brönner is not exactly known for his provocative musical statements, but his latest release, The Good Life, represents something of a challenge, even if that wasn’t his intent at the outset.

Every album tells its own story, and the best results often come when the original plotline twists and turns itself into something entirely different. That’s what happened with The Good Life. Of course, we can just take the album at face-value, as an amazingly laidback reworking of evergreen numbers, which it’s perfectly happy not to “modernise” in any way. Far more exciting, however, is to see it as the latest highpoint in what’s been an unusual career so far...

Brönner, now 45, first came to fame as a soloist in Berlin’s famed RIAS Big Band, the perfect training ground for learning to groove with a perfectly synchronised ensemble, mastering a rich and varied repertoire and perfecting every note of every number. In 1994, he recorded his first album, Generations of Jazz, also featuring veteran bassist Ray Brown and drummer Jeff Hamilton – a sensational way for a German jazz musician at that time to make his recording debut. Since then, Brönner has steered his career through a series of different phases, including making a name for himself as a producer through his work with artists such as Hildegard Knef and Thomas Quasthoff and, very significantly, discovering his own singing voice.

Till Brönner can rightly be regarded as Germany’s most successful jazz musician, but his fame has spread far beyond the national and even the European scene, thanks to his many appearances in the US, the home of jazz. Indeed on International Jazz Day 2016 he took up an invitation to the White House, something most politicians can only dream of doing. And in playing alongside such legends as Ray Brown, Dave Brubeck and James Moody, he has himself become part of the annals of jazz history.

Brönner can polarise audiences and his fellow musicians as well, of course. His concepts are not always met with unalloyed joy, especially within the jazz world’s inner circle. Nevertheless, he continues to walk his own path undeterred, finding ways in which to challenge the jazz community. That brings us back to the present, and to The Good Life, for which he made the bold decision to revisit a selection of standards, all of which have made history through their vocal interpretations. His aim throughout was to create a specific atmosphere, a sunnier, more lighthearted groove, easygoing but thoughtful, gentle but never superficial. Only at an advanced stage of the project did it become clear how many of these songs had been made famous by Frank Sinatra. It was never Brönner’s intention to make a Sinatra tribute album, however, and it’s precisely because his interpretations are free of any hovering influence, that they bring the listener such enormous listening pleasure.

What’s even more remarkable here is the way Brönner balances his work as vocalist and instrumentalist. Up till now he has been seen as a trumpeter who occasionally sang – now, on The Good Life, we’re suddenly confronted with a singer with two voices. On the issue of this dual challenge, he says, “If I’d spent the whole time thinking about the virtuoso and technical differences between voice and instrument, I wouldn’t have been able to play the trumpet the way I do. And when I was singing, my throat would have tightened up, which would have been a disaster. The only chance I had to pull it off was to see voice and trumpet as inseparable.”

This album, like Brönner’s previous release, was recorded at the former Ocean Way Studios in Los Angeles. The fact that Sinatra had recorded the classic My Way there is just another happy coincidence. “Most of the musicians live over there. It was just easier. And recording this kind of music in the Californian sunshine is perfect! When you watch the interaction between Jeff Hamilton and John Clayton there, you realise that the West Coast vibe is no myth. People come to the studio in a relaxed frame of mind that you don’t get anywhere else. There are a lot more cigars smoked there than here, too.”

Talking of Jeff Hamilton, this was the first time he and Brönner had recorded together since Generations of Jazz, 22 years ago. For Brönner it was both the closing of a circle and a reminder of the early days of his career. Working with the drummer had left its mark on him – since then he’s remained true to himself while constantly seeking out new horizons. Bassist John Clayton’s credentials include his work in the early 70s with Count Basie and Henry Mancini, while on guitar we hear Anthony Wilson. Pianist Larry Goldings, better known for more avant-garde projects, completes the line-up – he may be something of an outsider in this company, but that’s precisely why Brönner wanted to work with him. He brings a certain ironic intellectual counterpoint to the project, adding a new layer of interest and taking the album to a wider listenership.

Legendary producer Ruud Jacobs brought the impartiality of an outside perspective to bear on proceedings. Although Brönner has produced many of his albums himself, on this occasion he made the conscious decision to hand over the reins to someone else: “I’ve begun to relinquish the production work because constantly looking at your own reflection can get a bit wearing after a while.”

On The Good Life Till Brönner achieves the feat of taking tried-and-tested standards and using them to tell a fresh and original story. That he does it so easily, with a twinkle in his eye, and at times a cheeky grin on his face, proves that he has avoided falling into the trap of treating tradition with too much respect. He doesn’t take himself too seriously either, or worry about which greats of the past he might be measuring himself against. In other words, he simply does it his way.

阿布

拉丁爵士大师米切尔·卡米洛（Michel Camilo）这样评价阿布：“他是个富有想象力的钢琴手，更是个完美的作曲家。”

1999年出生于北京。四岁起，阿布师从美籍钢琴教育家张式谷教授，开始学习古典钢琴，同期参加多个钢琴比赛并获得大奖。张式谷教授返美后，中央音乐学院的张志玮教授继续担任起阿布古典钢琴的教学。2009年，阿布考入中央音乐学院附小，此后，阿布一直坚持利用假期参加美国的钢琴大师班及夏令营，因成绩出众，阿布被中央音乐学院附小保送至中央音乐学院附中继续深造。

2009年起，在专业系统的古典钢琴训练以外，阿布也开始了多元化的接触，他利用课余时间跟随*爵士音乐家，中国音乐学院的孔宏伟（金佛）教授开始系统的学习爵士，拉丁，乐理，即兴演奏等。随后，阿布也开始与更多的音乐老师学习使用录音软件，吉他，贝斯，打击乐与萨克斯，从而获得了更广泛的音乐知识，并将其运用在日常的训练中。

2011年，阿布“走出”琴房，开始在音乐现场参与到音乐家们的现场表演中，与不同风格爵士音乐家的Jam Session使他获得了宝贵的经验，正是这些经历，使阿布掌握了现场演奏技巧及乐队合作能力。同年，阿布与鼓手邵哈哈，贝斯手马锴组建了自己的*个乐队—阿布爵士三重奏

（A Bu Jazz Trio）

在成功参演了2012年的北京九门国际爵士音乐节后，阿布通过了“漫步者音乐家基金”的资助审核，同时，亦受邀请在“森海塞尔（Sennheiser）Momentum”发布会上，和*的罗尔夫·贝克爵士大乐队（Rolf Becker Big Band）同台献技。2012年末，阿布爵士三重奏的首张录音室专辑在北京录制完成，金佛与森海塞尔中国区总裁马克（Marc Vincent）亲自担任现场监制，并从德国邀请来格莱美奖得主雅各布·亨德尔（Jakob Handel）亲自操刀录音。在专辑录音中，阿布演奏了约翰·柯川（John Coltrane）的高难度作品“Giant Steps”，超越年龄的成熟表现惊艳众人。

2014年9月，阿布考入了美国茱莉亚音乐学院（Juilliard School）

预科班，并先后跟随韩国钢琴家Choong-Mo Knag以及美国教授Ernest Barretta学习古典钢琴。期间，阿布还与美国爵士教育家Frank Kimbrough继续学习爵士钢琴。

2015年4月，阿布在纽约的阿凡达录音室（Avatar Studio）完成了自己第二张专辑“双飞蝴蝶”的录制。与他搭档的有美国*Bass手Tom Kennedy，萨克斯演奏家Antonio Hart以及阿布的好友，来自美国堪萨斯的鼓手Ryan J. Lee。这张收录了阿布原创以及改编作品的专辑于2016年由森海塞尔传媒（Sennheiser Media）发行。此外，专辑也受到了美国“All About Jazz”网站的好评。

2015年7月，在瑞士举办的蒙特勒爵士钢琴独奏比赛中，阿布获得了评委会一等奖以及观众选择奖。赛后，阿布还收到了*制作人昆西·琼斯（Quincy Jones）的称赞。年末，他与俄罗斯萨克斯演奏家伊戈尔·布特曼（Igor Butman）携莫斯科爵士大乐团在柴可夫斯基音乐厅共同上演了精彩的演出。

2016年5月，阿布携手日本Bass手中村健吾（Kengo Nakamura）以及美国鼓手Ryan J. Lee在北京，上海，重庆，广州进行了巡演。同年暑期，阿布在欧洲多国举办独奏演出并参加了Umbria Jazz Festival，Montreux Jazz Festival等*爵士音乐节。同年11月，阿布与伊戈尔·布特曼在莫斯科举办了俄国*作曲家尼古拉·卡普斯汀的作品专场演出，并于卡普斯汀79生日当天前往他的家中为他演奏生日歌。与此之外，在贝尔格莱德爱乐乐团2017年的新年夜音乐会上，阿布作为独奏嘉宾与乐团协作演奏了美国作曲家格什温的F大调钢琴协奏曲以及“I Got Rhythm”变奏曲。

至今，阿布已两次被联合国教科文组织&塞隆尼斯·蒙克爵士协会邀请参加国际爵士乐日的全明星演出。今年4月30日，阿布在哈瓦那再次与赫比· 汉考克（Herbie Hancock），马克斯· 米勒（Marcus Miller），Till Brönner，Igor Butman等爵士音乐家们同台演出。

目前，阿布正在计划自己的第三张专辑，预计于2018年发行。

A Bu Bio

“It is always a personal thrill to find a ‘fresh voice’ within the jazz continuum. A Bu is a highly creative and accomplished jazz pianist who is also a gifted composer. I regard him as a promising young jazz lion who has a brilliant career ahead of him and will surely be talked about for many years to come” –Michel Camilo

A Bu, a 16-year-old jazz/classical pianist from Beijing, China. He began studying classical piano at the age of four. Later, at the age of nine, he entered Central Conservatory of Music in Beijing to accept the specialized and systematic classical piano trainings, he also learned music theories, approached jazz and Latin music, and tried impromptu performance at the same time. In 2011, A-Bu started to play jazz in jam session with many well-known Chinese musicians. In 2013, A Bu played with the jazz maestro Chick Corea in Shanghai.

In 2014, A Bu was admitted to the prestigious Juilliard School in New York, where he has studied classical and jazz lessons. In 2015, A Bu won the first Prize and the Audience Choice of Parmigiani Jazz Piano Solo Competition as part of the renowned Montreux Jazz Festival, and later, A Bu was invited to play in the Montreux Jazz Academy with Al Jarreau, Kurt Rosenwinkel, Yaron Herman and many great jazz musicians.

Following the successful participation of Beijing 9 Gate Jazz Music Festival in 2012, A Bu got the sponsorship from Edifier Musician Foundation; moreover, he was invited to perform together with the famous Rolf Becker Big Band at the press conference for Sennheiser Momentum, and then was signed to Sennheiser China. In 2013, A Bu completed his first album “88 Tones of Black and White”, he invited Jakob Handel, a Grammy winner recording engineer, to join this studio recording. In 2015, A Bu recorded his second album “Butterflies Fly in Pairs” in New York Avatar Studio. This album featured A Bu’s original compositions and arrangements on famous Chinese themes. Tom Kennedy, Ryan J. Lee, Antonio Hart and many great musicians played with A Bu for this second album.

A Bu has been busy in touring in China, Germany, Italy and Switzerland. In April 2015, A Bu invited by UNESCO and Thelonious Monk Institute of Jazz to play on and participate the International Jazz Day All-Star Global Concert. In the Head-quarter of UNESCO in Paris, A Bu shared stage together with Herbie Hancock, Wayne Shorter, Till Brooner and many other jazz stars. November 2015, A Bu played with the Russian jazz saxophonist Igor Butman and Moscow Jazz Orchestra in the Tchaikovsky Concert Hall, and Igor Butman’s Jazz Club in Moscow as well.

In July 2016, A Bu performed his debut performance on Umbria Jazz Festival and 50th Montreux Jazz Festival. In September, A Bu was invited to perform with Chick Corea on the grand opening of Blue Note Beijing. In addition, A Bu has performed in many famous international Jazz festivals, such as JZ Festival, Jazz à Vienne, Clermont-Ferrand Jazz Fest, TSF Jazz “You & the night & the music” and the Duc Des Lombards in Paris.

A Bu is currently preparing his third Jazz album, and keeps blooming his Jazz inspirations. 2017 will be an exciting year to A Bu, and to the Jazz world.