演出信息

日期/Date：2018年2月9日—2月10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：

380（主座）RMB

（餐饮低消：60RMB） 

乐队成员

Kyle Eastwood - bass

Quentin Collins - trumpet

Brandon Allen - sax

Andrew McCormack - piano

Christopher Higginbottom - drums

多产的贝斯手兼作曲家Kyle Eastwood在Jazz Village发行的《In Transit》是他唱片记录上一个新的里程碑。

时髦和新潮，《In Transit》处处表达着这些内容。爱好者会在其中看到一种当代爵士形式的蓝图，其中包含丰富的旋律和律动，而纯粹主义者同时还能感受到原创作品的韵味。多亏了Count Basie, Monk和Mingus，让我们回顾历史般的声音，更不用说Kyle Eastwood*喜欢的意大利电影主题,这象征着他与电影行业的特殊关系。

一些英国的年轻人在他的乐队中发光发热，还有个特别嘉宾—Stefano Di Battista，作为一个贝斯手，他的演奏听起来比以往任何时候都更抒情，完美呈现了艺术的活力，重新地创造了优雅和激情。

Kyle Eastwood作为引领者发行的*张专辑《From There To Here》到现在已有17个年头，这位多才多艺的低音贝斯手、作曲家和制作人，打造出了一个动感的音乐之路。他的艺术性是折衷的，但却通过探索不断扩大其音乐影响范围，以此完善和超越爵士乐的界限。在他持续作曲和编曲的音乐生涯中，Eastwood在他父亲Clint的奥斯卡提名电影《Mystic River》，《Million Dollar Baby》和《Letters from Iwo Jima》中创作出真正的当代、抒情和旋律优美的爵士乐，他重申着传统，发挥着真我。他曾在《Paris Blue》(2004)中与电爵士调情，在《Now》(2006年)中深入到70年代“smooth jazz”所有的律动和自由表达，在《Metropolitan》中微妙的融入黑人音乐的时髦感。


从Eastwood在2011年发行的《Songs From the Chateau》开始，到*新发行的专辑《 Time Pieces》，这既是他录音作品中新的里程碑，也是*近他对个人和艺术美学进行重新评估的高潮。他职业生涯的新阶段充满着感性与活力，由五个年轻的英国艺术家组成五重奏乐队，其中包括Andrew McCormack (钢琴), Quentin Collins (小号) ，Brandon Allen (次中音和高音萨克斯)和Ernesto Simpson (鼓)。Eastwood在专辑《The View From Here》(2013)中出色的表现再一次肯定了这个新创意，乐队中每个人都在纯粹的交流和互动，随之带来一种与爵士乐原型连接的感觉。

《Time Pieces》是他音乐持续不断的延伸，一个充满优美旋律的作品，以及一个围绕五重奏的律动组合。它的特点是对Herbie Hancock《Dolphin Dance》的一种深思熟虑和感性的解读，通过Horace Silver的《Blowin ' The Blues Away》来反映贝斯手对极富抒情的硬波普的热情。该系列以具有感染力的、活泼的和时髦的“Caipirinha”系列推出，继Silver和Hancock重新想象之后,乐队深入挖掘《Prosecco Smile》其中的的活泼和律动，《Vista》中性感撩人的忧郁旋律，还有充满能量的《Peace of Silver》，*终《Time Pieces》的制作是向已逝去的爵士钢琴传奇人物的致敬。

凭借微妙的推进节奏和喜怒无常的感性摇摆，《Incantation》体现出Wayne Shorter对于抒情的直接表达。Eastwood在《Letters From Iwo Jima》这部令他难忘的电影配乐中找到了一个新的表达方式，他以迷人的旋律和让人陷入沉思的《Nostalgique》，还有充满活力的hard-swinging bebop的《Bullet Train》来表达。从《Time Pieces》到《Corner of 3rd and 6th Avenue》，有专辑的限量版，其中四个出色的黑胶版本包含了温柔的布鲁斯，Miles Davis富有简单律动的《pfr(No Blues)》。Miles录制音乐的美国乐队不太一样，有钢琴家Richard Germanson, 小号手Alex Norris, 次中音萨克斯手Jason Rigby和鼓手Joe Strasser。

Eastwood说:“我在这张专辑中想做的是在50年代末和60年代初为爵士乐支付我的债务。”“这是一种抒情的硬波普，充满了律动和复杂的合奏，以Art Blakey的解释和the Jazz Messengers为例，当Lee Morgan和Wayne Shorter演奏的时候，Horace Silver的Blue Note录音和Miles五重奏乐队贯穿了整个60年代。这是我喜欢的音乐，自从我十几岁的时候*发现它了，它一直吸引着我。当时令人惊奇的是，所有这些乐队都有一个可以立即辨别出来的特色音质。我想知道这个奇点从何而来，我断定这主要是长期的集体演奏的结果。正是这种思考音乐的方式，让我在这张新专辑中重新找到了联系。”

虽然Eastwood深受爵士乐历史中仅仅一小段时间上音乐的启发，但《Time Pieces》是一个成熟的作品,不会从表面上借用过去的形式。相反，它不断地在60年代末(在它与布鲁斯的关系以及它的管弦乐潜力)中找到一种强有力的平衡，并坚决地用当代的方式来诠释这一传统。贝斯手和他的乐队为这个演奏带来了他们独特的个人和集体体验，他们共同绘制了流行音乐和爵士乐的历史，创造了丰富多样的当代体验，从流行音乐到摇滚到电子音乐，以及各种形式的非裔美国音乐。

“这个伟大的乐队*像是一些真正的艺术家在做真正的音乐，”Eastwood充道。“我带来的是创作和录制部分对于旋律和和弦的控制，但大多数时候他们在录音室排练时对这些歌曲进行不断的升华。”我与钢琴家Andrew McCormack和小号手Quentin Collins之间的友谊已经持续了近10年，能够再继续合作都成为一件*的事情。不然，我们创造的音乐显然反映了这种持久的关系。但如果我们是这个五重奏的核心和灵魂，那么新的音乐家融入我们之间的能力同样重要。萨克斯手Brandon Allen和鼓手Ernesto Simpson真真切切的丰富了这张专辑，将我们的核心声音打开到新鲜和令人兴奋的新视野。

Prolific Bassist/Composer Kyle Eastwood'slatest release In Transit is all at once a fresh landmark in his discography

available NOW on Jazz Village.

Catchy and modern, In Transit has many virtues. Enthusiasts will see in it the blueprint for a contemporary form of jazz which encompasses melodic richness and groove, whereas purists, as well as enjoying original compositions, will be able to roam through history thanks to some enthralling Count Basie, Monk and Mingus covers, not to mention Kyle Eastwood’s favourite Italian cinema theme, which symbolizes his special relationship with the film industry.

“ 

With his band of young, English ‘cats’ by his side, as well as a very special guest – Stefano Di Battista, sounding more lyrical than ever - , the double bass player embodies the vitality of an art which he reinvents with elegance and passion.

In the 17 years since the release of From There To Here, Kyle Eastwood’s first album as a leader, the multi-talented double bassist, composer and producer has forged a dynamic musical path. His artistry is eclectic, yet refined and transcends the boundaries of jazz by exploring an ever-widening range of musical influences. While continuing to develop his parallel career as a composer and arranger on his legendary father Clint’s Oscar nominated films “Mystic River,” “Million Dollar Baby” and “Letters from Iwo Jima,” Eastwood has reaffirmed traditions while creating truly contemporary, lyrical and melodic jazz. He has flirted with electro-jazz cool on Paris Blue (2004); delved into 70s-tinged “smooth jazz” accents and grooves on Now (2006); and gone “arty” urban chic on the subtly mixed Metropolitan (2009).

Eastwood’s latest release Time Pieces is all at once a fresh landmark in Eastwood’s discography and a culmination of a recent reassessment of his personal and artistic aesthetic that began with the release of Songs From the Chateau in 2011. The new phase of his career has involved a powerfully swinging, yet eminently sensual quintet of young English musicians: starting with Andrew McCormack (piano), Quentin Collins (trumpet and flugelhorn) and now including Brandon Allen (tenor and soprano sax) and Ernesto Simpson (drums). Eastwood brilliantly confirmed this new creative foundation on The View From Here (2013), often giving the impression of connecting with jazz archetypes while focusing on the pure joy of group interaction. 

Time Pieces is a rich extension of this ongoing “transition,” a work infused with melodic elegance and a sustained sense of groove organized around the quintet’s often-collective compositions. It also features a thoughtful and sensual reading of Herbie Hancock’s “Dolphin Dance” and a dense, lightning fast romp through Horace Silver’s “Blowin’ The Blues Away” that reflect the bassist’s passion for lyrical hard bop. The collection launches with the infectious, spirited and funky “Caipirinha.” Following the Silver and Hancock re-imaginings, the band digs in with the lively and swinging “boogaloo” grooves of “Prosecco Smile,” then eases into the seductive melancholy of “Vista” and the freewheeling high energy “Peace of Silver,” fashioned as a tribute to the jazz piano legend who passed away during the recording of Time Pieces.  

With its subtle marching beat and moody, sensual sway, “Incantation,” finds a direct heart line to the lyricism of Wayne Shorter. Eastwood finds new expression for one of his memorable film scores, “Letters From Iwo Jima,” which he follows with the hypnotic, meditative “Nostalgique” and the feisty, hard- swinging bebop explosion “Bullet Train.” Time Pieces wraps with the fun and freewheeling visit to the “Corner of 3rd and 6th Avenue,” while the album’s limited edition, four side LP version includes the gently bluesy, easy rolling Miles Davis tune “Pfrancing (No Blues).” The Miles track features a different American based ensemble: pianist Richard Germanson, trumpeter Alex Norris, tenor saxman Jason Rigby and drummer Joe Strasser.

“What I wanted to do in this record is pay my debt to jazz in the late 50s and early 60s, says Eastwood. “It was this lyrical hard bop, full of groove and sophisticated harmonies, exemplified by Art Blakey and the Jazz Messengers when Lee Morgan and Wayne Shorter were in the group, Horace Silver’s Blue Note recordings and different quintets Miles had throughout the 60s. It's the music that I like and that has never ceased to fascinate me since I discovered it as a teenager. What was amazing at the time was how all these groups had an immediately identifiable sound signature. I wondered where this singularity emerged from and I concluded that this was primarily the result of a collective work in the long run. It is this way of thinking and music making that I sought to reconnect with on this new album.”

Although Eastwood was deeply inspired by the sounds and group aesthetic of that rarefied time in jazz history, Time Pieces is a mature work that doesn’t borrow forms of the past superficially. Instead, it constantly manages to find a powerful balance between the more assertive hard bop at the turn of the 60s (in its relationship to the blues and in its orchestral potential) and a resolutely contemporary way to interpret this tradition. The bassist and his band bring their unique individual and collective experiences to the project, collectively drawing on the history of popular music and jazz to create a rich, diverse and contemporary experience that taps into everything from pop and rock to electro and the many forms of African-American music. 

“This great ensemble I’m working with is designed like a true musical collective,” Eastwood adds. “I brought to the writing and recording sessions pieces of melodies and chord progressions, but most often the songs and their arrangements were crystallized in the studio during rehearsals. The association that I have with pianist Andrew McCormack and trumpeter Quentin Collins extends back almost 10 years now. It is a luxury to be able to develop a project on a long-term basis. That longevity is obviously reflected in the music we create. But if we’re the heart and soul of this quintet, the newer musicians’ ability to fit into our flow was equally important. Brandon Allen on saxophones and Ernesto Simpson on drums have truly enriched this album by opening our core sound to fresh and exciting new horizons.”