演出时间&票价信息

日期/Date：2019年7月25日（周四）

入场时间/Door Time：6:00 PM

演出时间/Show Time：7:30PM

B2剧场票价Ticket Price：

200（边座）/280（主座）RMB

Mercedes-Benz JAZZ MASTER SERIES

梅赛德斯-奔驰特别呈现爵士大师堂系列

乐队成员

Sumito Ariyo Ariyoshi (有吉須美人)- piano/vocals

Hiroshi Eguchi (江口弘史)- bass/vocals

Zhijun Wu(吴志军)- drums

芝加哥蓝调名人堂大师艺术家——有吉須美人

Chicago Blues Hall of Fame Master Artist——Sumito Ariyo Ariyoshi

曾登上Blue Note Beijing舞台的日本音乐家，用“举足轻重”来形容似乎都不为过，从日野皓正、菊地成孔、到渡边香津美。这一次，也不例外！

7月25日-26日两天，世界首位美国蓝调名人堂亚洲艺术家，也是*的一位亚洲音乐家——有吉須美人（Sumito Ariyo Ariyoshi），即将登上Blue Note Beijing的舞台！

美国权威杂志Blues Blast这样评价他：1982年，芝加哥的布鲁斯俱乐部中出现了一位亚洲面孔。谁也不会想到，当初Otis Spann(芝加哥布鲁斯钢琴王)手中的钢琴音色，竟然在一个亚洲青年手中再现了！他*是Jimmy Rogers乐队的钢琴手，Robert Lockwood Jr的伯乐。他与Otis Rush一起欧洲巡演，和B.B. King、Albert King这样的泰斗并肩演奏，我们叫他Ariyo！

如果你知道“芝加哥布鲁斯新骨血”系列唱片，你会了解他是*个在Alligator Records旗下录音的亚洲音乐人。或者你看过芝加哥布鲁斯音乐节，三十多年里，总坐在钢琴面前的东洋人*是Ariyo！尽管不是黑人，甚至不是美国人，但他实实在在是芝加哥布鲁斯界的骄傲，当下芝加哥布鲁斯界的首席钢琴手——Sumito Ariyo Ariyoshi。

至今，有吉須美人演出的足迹遍布500多个城市。他的身影出现在纽约林肯艺术中心、纽约爵士与蓝调音乐节、欧洲夏季蓝调音乐节、亚洲爵士音乐等舞台上。

其深度合作的泰斗级音乐家，曾参与录制的唱片以不计其数。

2017年芝加哥蓝调名人堂入选名单通过官方公布，在Master Artist(大师艺术家)的行列中，有吉须美人的名字例入其中。

这是世界上*个东洋人，也是为*一个亚洲人入驻该名人堂。*像摇滚名人堂和乡村音乐名人堂一样，蓝调名人堂考量是传承影响力及对蓝调音乐所做的贡献。

到了21世纪，蓝调音乐的传承，早已不再是非裔美国人单独去完成的任务。尽管如此，在中国可以现场聆听的布鲁斯音乐的机会并不多。我们相信，好的东西会让人们向往，这样的音乐，会给人们会带来欢快，激情和动力。本场演出，一定会拉近你跟蓝调音乐的距离。

7月25/26，我们不见不散！

It was a life-changing experience, hearing that one record. Sumito Ariyoshi, better known as Ariyo, had been studying classical piano since since he was three years old. At the age of sixteen, a friend brought him an album, asking if Ariyo could play this kind of music on the piano. “He had an Elmore James record. You know how different classical music and the blues gets. Blues piano players are more flexible, more free. There is more attacking, especially when playing with a band.”

Like many others, Ariyo started educating himself by taking a deep dive into recordings by legendary artists like Muddy Waters, Otis Rush, and Little Brother Montgomery. He quickly realized that everyone played the same keyboard. The difference was in their approach. His extensive classical training gave the aspiring blues player a unique skill set.

Ariyo finished college with a degree in Japanese literature, which lead to a teaching position. But before the hard work started, he decided to indulge to of his passions – driving cars and playing music. A friend, keyboardist Yoko Noge, and her husband asked Ariyo if he wanted to make a trip to Chicago to see the real blues scene. Arriving in Chicago with a plan to stay for several months, Ariyo quickly learned that not being able to speak English made him dependent on the Noges’. They spoke the language and knew where to go, what clubs to visit. After a short time, Ariyo realized he needed to make his own way. Taking a part-time job at a Japanese restaurant, he spent part of every day learning English from the street people that hung out around the Tokyo Hotel, a cheap place to stay on Ohio Street in downtown Chicago.

But Ariyo feels the real start to his blues career in Chicago came later in the year when he was hired by the legendary Jimmy Rogers. That allowed him to quit his job at the Japanese restaurant to focus on music. He continued to play with Red, getting to play with other guitarists like Eddie Taylor and Hubert Sumlin. His pay increased as well, jumping to $20 every Sunday from the club instead of the $5 that Red had been paying Ariyo out of his own pocket. The Rogers band headed to New York in January, 1984 for a tour with Hip Linkchain on guitar, George “Wild Child” Butler on harmonica, Steve Arvey on bass, and Tony Mangiullo on drums.“Tony is Italian, so he understood what I was dealing with, not understanding English well at all. He helped me a lot, inviting me to move in his place in order to save money. When he opened his club, Rosa’s Lounge, his support made it possible for me to stay in Chicago and continue my career.”

Staying with the band until 1985, their paths diverge when Rogers headed to Texas to work with the Antone’s label while Ariyo worked with an agent to put together a tour of Japan with another outstanding guitarist, Robert Jr. Lockwood. Returning to Chicago, Ariyo was contacted by a rising star on the Chicago scene, singer Valerie Wellington. She hired him for her band along with Grady Williams on drums and Nick Charles on bass. When he had breaks in Wellington’s schedule, the piano player played dates with the Otis Rush band. “Valerie encouraged me to take advantage of those opportunities. She felt they would be valuable to my career. We were like brother and sister.”

As his career was in full swing, Ariyo was faced with legal issues that meant a return to Japan, where he stayed for the duration of the 1990s decade. Mangiullo’s family helped him out with the legal issues and the agent of for harmonica ace Billy Branch also served as an advocate for Ariyo’s return in 2001 with a new passport and visa. Six years after that he received a green card, giving him official citizen status. “I had known Billy a long time. Once I returned to Chicago, he was running around telling everyone Ariyo’s, back, Ariyo’s back – but I already got him, so don’t touch him! I started playing with his group, the Sons of Blues. I brought my wife here and our son was born in 2004.”

Over the last fifteen years, Ariyo has been committed to playing with Branch. When there are breaks in Branch’s schedule, and with the leader’s blessing, the piano player has been able to explore other interests as a solo artist in addition to fronting his own band. He has done several solo tours in Brazil, Spain, and, of course. Japan. Ariyo has been featured as a soloist at the 2003 and 2007 Chicago Blues Festivals with an appearance at the Chicago Jazz fest in between. “Billy is my priority. I have to be there because I give the band directions. I am not the music director, but I have been with Billy the longest of any band member”.

One measure of the piano player’s talent is the list of recordings he has appeared on in the last several years – Jimmy Burns Band Stuck In The Middle, Big Otis Blues by Rob Blaine, So Close To It by Breezy Rodio, and The Big Sound Of Lil’ Ed And The Blues Imperials on Alligator Records. He also made major contributions to the award-nominated recording from Branch, Blues Shock, one of the last releases on the Blind Pig Records label. “Before we went into the studio with the band, Billy and I discussed his ideas for each song, then I put together the voicings. We worked together for a long time. It was a range of old style to more modern sounds”.

注：换票时间始于入场时间前半小时，请各位观众安排好时间换票。