2015.10.13 20:00 – 21:10
华侨城创意文化园北区B10现场 B10 Live, North District of OCT-LOFT
Richard Galliano – 手风琴 Accordion
在过去，手风琴领域似乎还没出现过一位可称之为大师的艺术家，因为手风琴这种乐器，似乎并非用简单的律动就能表达它的内涵。直到Richard Galliano出现了，他用对手风琴的无限热情，宣扬他的信念。他深信手风琴与萨克斯风、小号在爵士乐里同样享有一席之地。在朋友Astor Piazzolla——新探戈的创始人的启发下，使他不仅成功替手风琴正名，更形成了欧式民谣手风琴的演奏风格，这种新的演绎风格为法国传统文化注入新鲜的血液。
素有“世界第一手风琴手”称号的Richard Galliano，用手风琴演奏Piazzolla的探戈堪称一绝。他四岁起就跟随其父练习手风琴，少年时代迷恋上了爵士，尤其从小号手Clifford Brown的音乐中得到启示，并很快驱使他投入到爵士音乐这片新天地中。70年代他移居法国后，就开始为一些著名的爵士乐手伴奏，诸如Chet Baker、Ron Carter、Michel Petrucciani、Jan Garbarek等。直到Richard遇见给他带来巨大影响的人：Astor Piazzolla。
Richard以世纪初的法式手风琴音乐为演奏主轴，他的演奏中加入大量的酷派爵士风格，让他脱离了欧式民谣风的传统包袱。从一九七六年以来，多次与Chet Baker、Toots Thielemans、Michel Petrucciani、Jan Gabarek合作的他，是在遇到Piazzolla以后才确立了采用欧式民谣手风琴的演奏风格，之后他还接触了各种各样的国际音乐人，与许多人有过合作，他与吉他手Jean-Marie Ecay，鼓手Daniel Humair的长期合作，与Michel Portal的两人组合，与Eddy Louiss的两人组合都非常成功，尤其是1998年的现场演唱会专辑《Blow Up》，正是他与单簧管/萨克斯演奏家Michel Portal的精彩合作，《Libertango》、《Taraf》都是如此令人难忘。
In the past, it seemed that no master artist whom someone could be called appeared in the accordion field because accordion, this kind of musical instrument, did not seem to use simple rhythm to express the connotation of it, until Richard Galliano’s emerging. He used his unlimited enthusiasm of accordion to publicize his beliefs. He was convinced that the accordion, saxophone and trumpet should have a place in jazz music. In his friend – the founder of the new tango – Astor Piazzolla’s inspiration, he not only fought for the position for the accordion successfully, but also formed European folk accordion playing style. This new style of deduction injected fresh blood to the traditional French culture.
Keeping the title of the world’s number one accordion player, he used the accordion to play Piazzolla’s tango dramatically. Richard Galliano followed his father to practice accordion at the age of four and in his childhood, he infatuated with the jazz. Especially since getting inspiration from bugler Clifford Brown’s music, he quickly drove himself into a new land – jazz music. Richard moved to France in the 1970’s and began to play the music for some famous jazz musicians such as Chet Baker, Ron Carter, Michel Petrucciani, Jan Garbarek, etc until he met the person who brought him great influence, Astor Piazzolla.
Richard once said that Piazzolla was his mentor, led him to take control of his own style and always encouraged him to be full of confidence. During this period, cooperating with Piazzolla, Richard picked up European folk traditions again and expressed the tango in his heart in a totally new way. Although bandoneon accordion, a very special folk musical instrument was localized, there was rarely winner in the jazz and it’s difficult to step in the hall of the elegance. But, Richard successfully used the combination of accordion and orchestras to deductive the tango, the bistro dance music with popular tune. Sometimes it was even grand, with a strongly heroic and poetic rhyme. Richard mainly focused on French accordion music in the early years of the nineteenth century. He played with a lot of cool jazz style and this let him out of the bind of traditional European folk style. Since 1976, he worked with Chet Baker, Toots Thielemans, Michel Petrucciani, Jan Gabarek many times. But only after meeting Piazzolla, he established his European folk accordion playing style and afterwards he contacted with international musicians widely. He cooperated with many people. He had long-term cooperation with guitarist Jean-Marie Ecay and drummer Daniel Humair and his combination of the two with Michel Portal and Eddy Louis were all successful. Especially the live concert album Blow Up in 1998 was his wonderful result of cooperation with the clarinet player/saxophonist Michel Portal and Libertango and Taraf were so memorable.