為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙，多謝合作。

To make this performance a pleasant experience for the artists and other members ofthe audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS.Eating and drinking, unauthorised photography and audio or video recording areforbidden in the auditorium. Thank you for your co-operation.

演出者Credits

曲目Songs

柏克圖．迪里費拉Paquito D’Rivera

特稿：爵士樂，拉丁風Feature : The Latin in Jazz

樂手介紹Musicians Biographies

紐約之聲介紹New York Voices Profile

歌手介紹Singers Biographies

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10 - 11.3.2006香港文化中心音樂廳Concert HallHong Kong Cultural Centre

演出長約 1小時 30分鐘，不設中場休息Running time: approximately 1 hourand 30 minutes with no interval

柏克圖．迪里費拉與紐約之聲

Paquito D’Rivera with the New York Voices

《巴西夢》Brazilian Dreams

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封面圖片（紐約之聲）Cover photograph (The New YorkVoices) © Robert Lewis

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本節目音響器材由通利琴行贊助

The audio equipment is sponsored by

樂 手Musicians

單簧管及薩克斯管 Clarinet and Saxophone柏克圖．迪里費拉 Paquito D’Rivera

長 號 Trombone杰伊．阿什比 Jay Ashby

鋼琴 Piano達里奧．埃斯克納齊 Dario Eskenazi

低音電結他 Electric Bass奧斯卡．史塔拿奴 Oscar Stagnaro

鼓 Drums馬克．沃克 Mark Walker

彼得．埃爾德里奇 Peter Eldridge

羅倫．金漢 Lauren Kinhan

達曼．米德 Darmon Meader

金．納扎拉利安 Kim Nazarian

主 唱Vocals 紐約之聲 New York Voices

Credits 演出者

加料節目 Festival Plus

演後藝人談 Meet-the-Artist (Post-Performance)10.3.2006 (五Fri)

歡迎觀眾演出後留步，與柏克圖．迪里費拉及其他演出者見面If you would like to meet Paquito D’Rivera and other performers,

please stay behind in the auditorium after the performance

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Songs曲目

曲目及演出次序可能變更 Songs and their order are subject to change

A Night in TunisiaDizzy Gillespie MusicDarmon Meader ArrangementUp Latin

Answered PrayersIvan Lins and Vitor Martins MusicPeter Eldridge English lyrics(based on Portuguese translation)Darmon Meader ArrangementMedium Samba

Baroque SambaDarmon Meader Music and ArrangementSamba

CaravanMusicDuke Ellington, Juan Tizol and Irving MillsAdditional Music and LyricsDarmon Meader and Peter EldridgeDarmon Meader ArrangementUp Swing

CorcovadoAntonio Carlos Jobim MusicLyricsFrederick Eugene John “Gene” LeesDarmon Meader ArrangementBossa Nova

DesafinadoAntonio Carlos Jobim MusicDarmon Meader ArrangementBossa Nova

Manha De Carnival / Gentle RainLuiz Bonfa MusicMatt Dubey LyricsJay Ashby and Peter Eldridge ArrangementBossa Nova

突尼斯之夜作曲 迪齊·芝萊斯彼

編曲 達曼·米德

拉丁

禱告靈驗作曲 伊凡．林斯及維托．馬田斯

英文歌詞 彼得．埃爾德里奇（據葡萄牙譯文）

編曲 達曼．米德

中板森巴

巴羅克森巴舞作曲及編曲 達曼．米德

森巴

大篷車作曲

杜克．埃林頓、胡安．蒂索、歐文．米爾斯

附加音樂及歌詞達曼．米德及彼得．埃爾德里奇

編曲 達曼．米德

上搖擺

靜夜星空作曲 安東尼奧．卡洛斯．喬賓姆

作詞弗雷德里克．尤金．約翰．「吉恩」．利斯

編曲 達曼．米德

波薩諾伐

走音作曲 安東尼奧．卡洛斯．喬賓姆

編曲 達曼．米德

波薩諾伐

狂歡節清晨／毛毛雨作曲 盧茲．邦法

作詞 馬特．迪貝

編曲 杰伊·阿什比及彼得．埃爾德里奇

波薩諾伐

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Meu AmigoAntonio Carlos Jobim MusicDarmon Meader ArrangementSemi Classical / Latin

Minds of Their OwnIvan Lins MusicPeter Eldridge LyricsPeter Eldridge and Darmon Meader ArrangementBallad / Bossa

ModinhaAntonio Carlos Jobim MusicEnglish lyricsKim Nazarian and Cecilia EngelhartDarmon Meader ArrangementA cappella Ballad

Open InvitationDarmon Meader MusicLauren Kinhan LyricsBrazilian Feel

Retrato im Branco e PretoMusic and LyricsAntonio Carlos JobimDarmon Meader ArrangementBossa Nova

’Round MidnightThelonius Monk MusicDarmon Meader ArrangementBallad

Save Your Love For MeBuddy Johnson MusicDarmon Meader Vocal ArrangementRob Mounsey Horn ArrangementSwing Ballad

Snow SambaClaudio Roditi and Paquito D’Rivera MusicCecilia Englehart LyricsDarmon Meader ArrangementSamba

我的朋友作曲 安東尼奧．卡洛斯．喬賓姆

編曲 達曼．米德

半古典／拉丁

自有主張作曲 伊凡．林斯

作詞 彼得．埃爾德里奇

編曲 彼得．埃爾德里奇及達曼．米德民謠 、波薩諾伐

莫丁夏作曲 安東尼奧．卡洛斯．喬賓姆

英文歌詞金．納扎拉利安及塞西莉亞．恩格爾哈特

編曲 達曼．米德

清唱民謠

公開邀請作曲 達曼．米德

作詞 羅倫．金漢

巴西風格

黑白照作曲及作詞

安東尼奧．卡洛斯．喬賓姆

編曲 達曼．米德

波薩諾伐

午夜時分作曲 特洛尼厄斯．芒克

編曲 達曼．米德

𤉸事曲

愛我好了作曲 巴迪．約翰遜

和聲編排 達曼．米德

號樂編排 羅布．芒西

搖擺民謠

雪之森巴舞作曲 克勞迪奧．羅迪蒂及柏克圖．迪里費拉

作詞 塞西莉亞．恩格爾哈特

編曲 達曼．米德

森巴

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Born in Cuba, Paquito D’Rivera began hiscareer as a child prodigy, playing both theclarinet and the saxophone with the

Cuban National Symphony Orchestra. Heeventually went on to premier several works bynotable Cuban composers with the Orchestra.

A restless musical genius, D’Rivera formed andperformed with various musical ensembles asa teenager and became one of the foundingmembers of the Orquesta Cubana de MusicaModerna, which he subsequently conducted fortwo years.

In 1996, D’Rivera received a Grammy for his highlyacclaimed recording, Portraits of Cuba, and in2000 for his Tropicana Nights. In 2001, he received

柏克圖．迪里費拉生於古巴，自小才華橫溢，在古巴國家交響樂團演奏單簧管和薩克斯管，

並曾首演著名古巴作曲家的作品。

迪里費拉是個閒不住的音樂天才，少年時組織各種樂團演出，後成為古巴當代樂團創團成員之一，並在這樂團擔任指揮兩年。

迪里費拉曾多次獲格林美獎，包括《古巴寫真》(1996)、《熱帶之夜》 (2000)、迪里費拉五重奏樂隊《「藍調之音」爵士會所現場錄音》 (2001) 及作客席演出的《貝玻．民萊斯三重奏》 (2002)。另

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外，他的《單簧管手》第一輯也於2001年格林美獎的古典混合組別中獲提名。

2003年，迪里費拉演奏史達拉汶斯基的《士兵的故事》，又和紐約之聲合作錄製《巴西夢》，兩個作品分別在拉丁格林美獎的古典樂和拉丁爵士樂組別勝出，成為破天荒首位同時獲這兩項殊榮的藝術家。翌年迪里費拉獲爵士記者協會頒發全年最佳單簧管樂手大獎。

2005年，迪里費拉作曲，傑出大提琴家馬友友演奏的《默朗格舞》贏得格林美最佳器樂作曲獎，是他第七度獲格林美獎。同年，迪里費拉獲美國藝術基金會的年度爵士樂大師殊榮。

迪里費拉推出超過三十張個人專輯，曲目有爵士、比波普爵士樂和拉丁音樂，他在古典樂的貢獻尤為出色，包括在美國國家交響樂團、布魯克林愛樂樂團、倫敦交響樂團和佛羅里達愛樂樂團的獨奏演出。

迪里費拉不但在器樂演奏上成績卓越，作曲家的地位也受到讚譽，其作品靈活多變，顯示他受到非洲和古巴特色的音樂及跳舞音樂的廣泛影響，最後又回到古典音樂的根源。

2000年，林肯中心爵士樂節委約迪里費拉為美國公共電台創作及錄製《泛美組曲》；2002年，美國國家交響樂團和鹿特丹愛樂樂團委約他為著名長笛手瑪莉娜·佩西尼尼創作《美麗空氣協奏曲》，由指揮大師倫納德．史拉特金在甘曍迪中心指揮演出。華盛頓郵報譽之為「一首充滿尖銳感覺和色彩的拉丁美洲音樂作品。」

2005年，迪里費拉獲頒美國藝術家最高榮譽 — 國家藝術獎；同年，與布宜諾斯艾利斯弦樂四重奏合作的《里伯拉斯》為迪里費拉第八度贏得格林美獎。

Biography 演奏家介紹

another Grammy for his Quintet’s recording of Liveat the Blue Note, and he was also nominated inthe Classical Crossover category for TheClarinettist Vol I. He won again in 2002 as a guestartist on a Bebo Vales Trio recording.

Paquito D’Rivera made history in 2003 for beingthe first artist to win Latin Grammies in bothClassical and Latin Jazz categories forStravinsky’s Historia del Soldado and BrazilianDreams with the New York Voices. In 2004 hewas awarded the title of Clarinettist of the Yearby the Jazz Journalists Association.

Most recently in 2005, he received his 7th Grammyfor Best Instrumental Composition for his piecetitled Merengue, performed by the distinguishedcellist Yo-Yo Ma, and was named a 2005 JazzMaster by the National Endowment for the Arts.

While D’Rivera’s discography includes over 30 soloalbums in jazz, bebop and Latin music, hiscontributions to classical music are impressive.They include solo performances with the USNational Symphony Orchestra, BrooklynPhilharmonic, London Symphony Orchestra andthe Florida Philharmonic Orchestra, to name a few.

In addition to his extraordinary performing careeras an instrumentalist, Paquito D’Rivera hasrapidly gained a reputation as an accomplishedcomposer. His work reveals his versatility andwidespread influences from Afro-Cuban to thedance hall and back to his classical origins.

In 2000, Jazz at Lincoln Center commissionedD’Rivera’s Panamericana Suite, which wasrecorded for Public Radio in the US. In 2002 hewas commissioned, by the US NationalSymphony Orchestra and the RotterdamPhilharmonic, to write a concerto Gran Danzon(The Bel Air Concerto) for the acclaimed flutistMarina Piccinini, which was performed underthe baton of Leonard Slatkin at the KennedyCenter. The work was praised in the WashingtonPost as “a spiky and imaginatively colouredpiece of Latin American orchestral writing”.

In 2005, D’Rivera was awarded the NationalMedal of the Arts, America’s highest honourmade to an artist. He also received his 8thGrammy in the same year for Riberas with theBuenos Aires String Quartet.

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Feature 特稿

爵士樂，拉丁風

文：穆萬諾

據偉大的爵士樂先驅傑利．羅爾．莫頓說，爵士樂發軔於新奧爾良時，就有一種「拉丁

色彩」。新奧爾良還受西班牙統治又未有爵士樂前，該地的音樂生活洋溢着墨西哥風格；而對爵士樂早期發展更關鍵的，是新奧爾良和夏灣拿曾是重要的貿易夥伴，兩地人口往來、貨物買賣和音樂交流相當頻繁。儘管流行於美國和古巴的音樂風格根本各異其趣，但兩者都保留了非洲音樂的特點：此呼彼應，即興發揮，訴諸靈感和當下交流。美國爵士樂中最自由發揮的即興演奏，相當於古巴音樂中的「迪斯卡格」 (descarga)。由於美國爵士樂和古巴音樂有這同一源頭，大家既惺惺相惜，也經常互相較量，看看下一隻舞到底誰領風騷。

二十世紀初，倫巴舞熱潮席捲美國，部份拜古巴樂隊領班哈維爾．庫加特所賜。接踵而來的是一群古巴音樂家、作曲家和編曲者，其中有馬里奧．包薩、馬戚圖、戚可．奧法里爾和卡查奧。他們對班尼．古德曼、奇克．韋布和凱布．卡洛威的大樂隊搖擺製作貢獻很多。這些古巴人也成立了自己的樂團，由自己領導，終於創造了曼波音樂。艾靈頓公爵也把拉丁節奏引進自己的樂隊，還羅致了波多黎各長號手胡安．蒂索。樂隊其中一首招牌樂曲《大篷車》就是蒂索寫的。1940年代，比波普爵士樂 (bebop) 的

by Manolete Mora

F rom its very beginning in New Orleans,jazz had a ‘Latin tinge’, according to thegreat jazz pioneer, Jelly Roll Morton.

When New Orleans was part of the Spanishdominion, Mexican influences pervaded themusical life of pre-jazz New Orleans. Moresignificantly for the early development of jazz,New Orleans and Havana had been importanttrading partners, which entailed the constantflow of peoples, goods and music between thetwo ports. While ultimately the popular musicalstyles of the United States and Cuba moregenerally formed distinctive identities, thetrademark of both styles has been the Africancall and response, improvisational, approach tothe music, which is intensely inspirational andinteractive. In American jazz improvisation findsits freest expression in the jam session, while inCuban music it is found in the descarga. Withthis common parentage it was natural for thesesibling musics to both challenge and admireeach other; and the rivalry was often over whowould lead the next dance.

In the early 20th century, ‘rumba’ fever sweptacross the United States partly through Cubanbandleader, Xavier Cugat. On the heels of rumbacame a host of Cuban musicians, composers andarrangers — among them Mario Bauzá,Machito, Chico O'Farrill and Cachao — whomade important contributions to the Big BandSwing productions of Benny Goodman, ChickWeb and Cab Calloway. These Cubans alsoformed and led their own orchestras and endedup creating the mambo. Duke Ellington alsointroduced Latin rhythms into his band with the

The Latin in Jazz

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創造者迪齊．芝萊斯彼和查里．帕克，連同古巴敲擊樂手查諾．波索和馬戚圖開始注入非洲加古巴節奏，打造出一個最有活力的混合體：古巴波普 (Cubop) 樂風。

1950年代，在紐約的守護神和鳥國爵士俱樂部，來自波多黎各、古巴、巴拿馬及多明尼加等地的音樂家紛紛亮相。新奧爾良和洛杉磯的觀眾和爵士樂手，也開始欣然接受來自加勒比海的新音樂風格。而在三藩市，頹廢派（「垮掉的一代」）運動的詩人作家，也將非洲加古巴波普音樂的情感和節奏，運用到作品當中。自此以後，「拉丁爵士樂」發展成為一個廣泛、富啟發性的類型，促成了南北美洲頂尖音樂家的出色合作。

從巴西傳來了兼有非洲和巴西特色的森巴和波薩諾伐，令許多早享盛名的爵士樂手事業更上層樓，其中包括演奏薩克斯管的史坦．格茨和長笛手荷比．曼。波薩諾伐的節奏較懶洋洋，

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recruitment of Puerto Rican trombonist, JuanTizol, who composed Caravan, one of thesignature tunes of the Ellington band. In the 1940sbebop innovators, Dizzy Gillespie and CharlieParker, along with Cuban percussionists ChanoPozo and Machito, began integrating Afro-Cubanrhythms into new creations and together theyforged the most vibrant of hybrids, Cubop.

During the 1950s in New York, the Palladiumand Birdland clubs showcased Puerto Rican,Cuban, Panamanian and Dominican musicians,and the audiences and musicians of NewOrleans and Los Angeles jazz began to embracethe newer influences from the Caribbean. In SanFrancisco, the writers and poets of the Beatmovement wove the sentiments and rhythmsassociated with Afro-Cubop into their creations.From then on, Latin jazz developed as a broadand fertile genre that inspired outstandingcollaborations between leading musicians fromboth sides of the border.

From Brazil came Afro-Brazilian samba andbossa nova, which boosted the careers ofmany established jazz musicians including

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為爵士樂注入新元素，也使巴西成為1960年代拉丁爵士樂的領導者。巴西和古巴音樂之所以對爵士樂的影響如此舉足輕重，部份原因是它們的旋律含蓄迷人，和聲感人肺腑。巴西的影響延續到七十年代，樂手如奇克．哥利亞，歌手弗羅娜．普林、敲擊樂手艾圖．莫雷拉，都把巴西的樂風與當時混有更多電子和爵士搖滾的風格結合起來。

與此同時，薩克斯管和單簧管兩者皆精的帕克圖．迪里費拉和來自古巴的鋼琴家秋曹．瓦爾德斯組成伊拉克里樂團，將爵士樂、搖滾樂、古典音樂和非洲加古巴音樂共冶一爐，激蕩人心的爆發力前所未聞。1978年伊拉克里到紐約新港和瑞士蒙特勒的爵士音樂節表演，轟動一時。不同的音樂交叉影響，促成1979年的樂壇盛事《夏灣拿即興大會串》 ─ 來自美國的爵士樂手和搖滾樂手，以及古巴當代最出色的樂人，齊集一堂，即興切磋。除了迪里費拉外，其他年輕一代的拉丁爵士樂手也遠道而來，他們都在八十年代於美國闖出名堂，其中有小號手阿圖羅·桑多瓦爾、敲擊手傑里．岡薩雷斯和鋼琴家達里奧．佩里斯。1988年，迪里費拉和迪齊．芝萊斯彼合創全星級陣容的聯合國樂團，備受推崇。樂團用十五件樂器，將拉丁爵士樂的風采展露無遺，迪里費拉身兼主音獨奏，作曲和編曲。

最近數十年，拉丁音樂和爵士樂交流融合，蓬勃成長，已越過美國國境，在歐洲、拉丁美洲和這兩種音樂的發祥地非洲開花結果。非洲和拉丁美洲的音樂分佈各地，就如美國音樂，新的混合風格很可能就此形成，令拉丁爵士樂更無遠弗屆。傑利．羅爾先生的名言「沒拉丁味的就不是爵士樂」，大抵會成為共識，但涵義已遠遠超乎他的想像。

saxophonists Stan Getz and flautist HerbieMann. The more languid rhythms of bossa novaintroduced fresh influences and made Brazil theleading Latin jazz source throughout the 1960s.Brazil, along with Cuba, was a centre of musicalinfluence partly because of the subtle, beguilingmelodies and poignant harmonies that it offered.The Brazilian influence endured and in the 1970smusicians such as Chick Corea, vocalist FloraPurim, and percussionist Airto Moreiracombined Brazilian sounds with the moreelectric, jazz rock fusion styles of the day.

Meanwhile in Cuba, saxophonist and clarinettistPaquito D’Rivera, together with pianist, ChuchoValdez, formed Irakere, whose explosive mixtureof jazz, rock, classical and Afro-Cuban music hadnever been heard before. Irakere’s 1978performance at the Newport/New York andMontreaux jazz festivals caused a sensation, anda major outcome of the musical crossover wasthe historic Havana Jam in 1979, which featurednumerous jazz and rock performers from the USand the best from the contemporary music scenein Cuba. Along with D’Rivera came other youngergeneration Latin jazz musicians who, throughoutthe 1980s, established themselves in the US;among these were trumpeter Arturo Sandoval,percussionist Jerry Gonzalez and pianist DaniloPerez. In 1988, D’Rivera and Dizzy Gillespie co-founded the acclaimed all-star United NationOrchestra, a 15-piece ensemble that was createdto highlight Latin jazz and in which D’Rivera wasa featured soloist, composer and arranger.

In recent decades, the interchange betweenLatin music and jazz has thrived beyond theborders of the US and found fertile ground inEurope, Latin America and the ancestralhomeland — Africa. The musical landscapesof Africa and Latin America are regional anddiverse, in the way that the US used to be. Thelikelihood that newer hybrids will emerge andestablish Latin jazz as a more far-reaching genreis high. It may well be that Mr Jelly Roll’s famousdictum that ‘it ain’t jazz if it doesn’t have a Latintinge’ may become a truism in a way that henever imagined.

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Three-time Grammy-winner Jay Ashby is emergingas one of the bright soloists, producers and arrangersin the jazz field. He holds degrees in Jazz Studies and Composition.

As a result of his long time association with trumpet master Claudio Roditi,Ashby developed a strong affinity towards Brazilian Jazz which resultedinitially in a ten year stint as soloist with Astrud Gilberto, and later led toarrangements, tours and recordings with various Brazilian artists andappearances with the founding fathers of bossa nova, Joao Gilberto andAntonio Carlos Jobim.

Ashby has also made his first foray into the pop world as trombonist,percussionist and arranger with Paul Simon. In addition to world tours,Ashby’s tenure with Simon included the recording of a feature DVD Livefrom Paris, as well as performances on television.

With an extensive recording discography, Ashby has gained widerrecognition as a composer and arranger, having written for various jazzand pop singers and musicians including Astrud Gilberto, Claudio Roditi,John Scofield and Hendrik Meurkens.

As a producer his projects include the Grammy award winning CountBasie Orchestra with the New York Voices and Grammy nominated PaquitoD’Rivera and the United Nation Orchestra.

J a y s h b yA

杰伊．阿什比三度獲格林美獎，在爵士樂界是位出色的獨奏家、監製和編曲，且取得爵士樂研究及作曲學位。

因為長期與小號大師克勞迪奧．羅迪蒂合作，深受巴西爵士樂吸引，為波薩諾伐天后阿絲特魯．吉伯圖當獨奏十年，後替不同的巴西樂手編曲、錄音及巡迴演唱，以及與波薩諾伐之父喬奧．吉伯圖和喬賓姆同台演出。

阿什比首次涉足流行樂壇，是替保羅．西蒙吹奏長號，負責敲擊樂及編曲。他也跟西蒙一同灌錄了DVD專輯《巴黎現場演奏會》，並參與電視演出。

阿什比灌錄過許多唱片，作曲和編曲的才華日益受到青睞，曾為阿絲特魯．吉伯圖、克勞迪奧．羅迪蒂、約翰．斯科菲爾德及亨德里克．穆肯斯等多位樂手編寫樂曲。

他監製的唱片有格林美獲獎專輯《貝西公爵樂團和紐約之聲》、獲格林美提名專輯《柏克圖．迪里費拉和聯合國樂團》。

杰伊．阿什比

Musicians Biographies樂手介紹

長號 Trombone

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Peruvian Oscar Stagnaro studied at the Conservatoryof Music in Lima, and worked extensively with many international artistsand local bands before moving to the US in 1979. Since then, his masteryof playing different music styles from jazz and fusion to Latin jazz, Brazilianjazz and South American music has helped him travel the world performingwith the very best Latin jazz artists. These include David Sanchez, DaniloPerez, Ray Barreto, Chucho Valdez, Rosa Passos, Claudio Roditi andDave Liebman.

Stagnaro has been an Associate Professor at the Berklee College of Musicsince 1988, and has been largely responsible for the school’s developmentof Latin bass education, instituting several courses on Latin and worldbass styles. He also teaches Latin Jazz Ensembles and Jazz Improvisationin the Jazz Studies Department at the New England Conservatory ofMusic.

He has an extensive discography which includes the Latin Grammywinners Live at the Blue Note (2001) and Brazilian Dreams (2003), bothwith Paquito D’Rivera, as well as recordings with the United NationOrchestra, the Caribbean Jazz Project, Oscar Feldman and Dan Moretti,among others. His first solo CD Mariella’s Dream was released in 2003.

O s c a r t a g n a r oS

奧斯卡．史塔拿奴生於秘魯，在利馬的音樂學院就讀，1979年移居美國之前，已跟許多國際樂手和當地樂隊合作。由於他精通各種音樂風格，包括爵士融合、拉丁爵士、巴西爵士、南美音樂，因此得以和最優秀的拉丁爵士樂手巡迴世界演出，這些樂手包括戴維．桑切斯、丹尼洛．佩雷斯、雷．巴勒圖、秋曹．瓦爾德斯、羅莎．帕索斯、克勞迪奧．羅迪蒂、戴夫．利布曼等人。

史塔拿奴自1988年起擔任波士頓百克里音樂學院的副教授，大大促進了該校對拉丁音樂的教育，還開辦了幾個課程，講授拉丁和世界音樂的低音電結他風格。他也在新英倫音樂學院爵士研究系教授拉丁爵士樂組合和爵士樂即興演奏。

史塔拿奴出過多張唱片，包括拉丁格林美獲獎作品《「藍調之音」爵士會所現場錄音》 (2001) 和《巴西夢》(2003)，兩者都是跟柏克圖．迪里費拉合作。此外他也跟聯合國樂團、加勒比爵士樂計劃、奧斯卡．弗爾德曼和丹．莫雷蒂等人錄音。2003年他出了個人大碟《瑪莉耶拉之夢》。

奧斯卡．史塔拿奴低音電結他 Electric Bass

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Grammy award-winning drummer and percussionistMark Walker comes from Chicago. He began playingdrums at age ten and played his first professionalgigs barely out of high school.

In 1989 Walker began a musical relationship with Paquito D'Rivera, whichhas earned him several Grammy awards and nominations for his recordedwork. He continues to tour with D’Rivera’s various ensembles, from quintetto big band to orchestra.

Walker made his move to New York in 1995 and began touring andrecording with the Caribbean Jazz Project. A short time later he did atwo-year stint, touring with pianist Michel Camilo and his trio. In 1996 hetoured with pianist Cesar Camargo Mariano, and joined the quartet,Oregon, featuring Ralph Towner.

His recordings include a co-production with guitarist David Onderdonkentitled Loose Contact; a children’s educational CD Rhythm BandInstruments; and three CDs: Rhythm of the Americas, Chameleon DrumsVolumes 1 and 2.

He is an Associate Professor at Berklee College of Music in Boston andhas also served on the faculty of Drummers Collective in New York.

M a r k a l k e rW

來自芝加哥的馬克．沃克，是格林美獲獎鼓手和敲擊樂手。十歲學打鼓，中學畢業即參加專業爵士樂演出。

沃克自1989年起與迪里費拉合作，灌錄的唱片贏得數項格林美獎和提名。他一直與迪里費拉領導的五重奏、大樂隊以至大樂團一起巡迴演出。

1995年，沃克移居紐約，開始跟加勒比爵士樂計劃巡迴演出並錄音。未幾，他跟鋼琴家米歇爾．卡米洛及其三重奏樂隊巡迴演奏兩年。1996年又與鋼琴家西澤．卡馬戈．瑪麗安諾一起巡演，並加入拉爾夫．湯納的四重奏樂團「俄勒岡」。

他的錄音製作包括與結他手戴維．翁德唐克合作的《鬆散聯繫》；一張兒童教育唱片《節奏樂隊樂器》；以及《亞美利亞節奏》、《變色龍鼓》第一、二輯。

他是波士頓百克里音樂學院副教授，也曾在紐約鼓手團任教。

馬克．沃克鼓 Drums

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Dario Eskenazi was born in Buenos Aires andgraduated from the Berklee College of Music, Boston.He has toured, recorded and performed with the Carribean Jazz Project,Ruben Blades, Tito Puente, Mongo Santamaria, Hiram Bullock, DaveValentin, Herbie Mann, Gato Barbieri, Hendrik Meurkens, RomeroLubambo, Jane Burnett, Jon Lucien, Lisa Ono, Rosa Passos, DianneSchurr and Leny Andrade.

He has also performed in many of the major jazz festivals in the US andEurope including the Montreaux, North Sea, Nice and Montreal Festivals.

Eskenazi has an extensive discography which includes playing on TheGathering with the Caribbean Jazz Project (2003 Grammy for Best LatinJazz), and with Paquito D’Rivera on Live at the Blue Note (2001 Grammyfor Best Latin Jazz), Tropicana Nights (2000 Latin Grammy) and Portraitsof Cuba (1997 Grammy).

As an arranger and producer his discs include Muchacha Viento, OlgaRomán 2 and Luna De Varadero.

D a r i o s k e n a z iE

達里奧．埃斯克納齊生於布宜諾斯艾利斯，波士頓柏克萊音樂學院畢業。曾經跟許多樂手一起巡迴演出和錄音，包括加勒比爵士樂計劃、魯賓．布萊茲、蒂托．皮尤恩蒂、蒙戈．桑塔瑪麗亞、海勒姆．布洛克、戴夫．瓦倫丁、赫比．曼、加托．巴比里、亨德里克．穆爾肯斯、羅梅羅．盧班博、簡．伯內特、喬恩．盧西恩、莉莎．奧諾、羅莎．帕索斯、黛安娜．舒爾、利尼．安德雷德。

他曾在歐美許多主要爵士樂節演出，包括蒙特勒、北海、尼斯和蒙特利爾等地的音樂節。

埃斯克納齊的唱片專輯很多，計有與加勒比爵士樂計劃合奏的《集會》（獲2003年格林美最佳拉丁爵士樂獎）、與柏克圖．迪里費拉合作的《「藍調之音」爵士會所現場錄音》（獲2001年格林美最佳拉丁爵士樂獎）、《熱帶之夜》（獲2000年拉丁格林美獎）和《古巴寫真》（獲1997年格林美獎）。

由埃斯克納齊編曲及監製的唱片有《風之少女》、《奧嘉．羅曼》第二輯和《碼頭月亮》。

達里奧．埃斯克納齊鋼琴 Piano

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© J

ack

Guy

New York Voices Profile紐約之聲介紹

紐約之聲是格林美獎的得獎合唱組合，以其精湛的爵士樂和合唱藝術聞名。雖主攻爵士樂，其演唱亦受巴西風格、節奏藍調、古典及流行音樂影響，處理上同樣創新，且能保留原味。

紐約之聲於1978年成立，成員為達曼．米德、彼得．埃爾德里奇、金．納扎拉利安、卡普賴斯．福克斯和莎拉．克里格。前四人曾就讀紐約伊薩卡學院，1986年夏，四人受邀參加校友樂團，赴歐洲各地爵士樂節巡迴演出。因為此次經驗，令他們決定組成合唱團。1989年，以其組合名稱「紐約之聲」命名的首張唱片備受讚揚，迅速得到國內外爵士樂界肯定。

1992年，莎拉．克里格退出，紐約之聲在美國進行遴選，於六十多位演唱家中選出羅倫．金漢。1994年初，卡普賴斯．福克斯離開，從此紐約之聲以四人組形式演出至今。

除推出唱片，紐約之聲還在其他樂隊的錄音及現場演出中以嘉賓身份演唱，大獲好評，也因此經常受邀出席各種音樂場合。參與製作的唱片有格林美獲獎專輯《貝西公爵樂團和紐約之聲》、當代古典唱片《古塔》、《喬賓姆的傳人》、《愛之韻事 — 伊凡．林斯的音樂》、歐文．伯林的《路易斯安納購物》等。他們也曾與雷．布朗、巴比．麥克菲林、南希．威爾遜、喬治．本森等爵士樂大師同台演出。

紐約之聲於頻繁演出和錄製唱片之餘，還從事教育，常在中學及大學為音樂學生舉辦研習班。他們希望繼續嘗試不同的樂風，吸引更多聽眾。

紐約之聲

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New York Voices (NYV) is the Grammy Award winning vocal ensemble renowned for theirexcellence in jazz and the art of group singing. Their interests are rooted in jazz, but oftenBrazilian, R&B, classical and pop influences are included with equal creativity andauthenticity.

The group was formed in 1987 by Darmon Meader, Peter Eldridge, Kim Nazarian, CapriceFox and Sara Krieger. Meader, Eldridge, Nazarian and Fox attended Ithaca College inNew York and were part of an invitational alumni group formed to tour the European JazzFestivals in the summer of 1986. As a result of this exciting experience, the idea of forminga professional group was born. In 1989 they released their self titled debut album, NewYork Voices. The group received rave notices and quickly achieved domestic andinternational recognition in the jazz world.

In 1992, Sara Krieger retired from the Voices, and after auditioning over 60 vocalists fromall over the US, the group found Lauren Kinhan. In early 1994, Caprice Fox left the group,forever fixing NYV as the quartet it is today.

Aside from their own CDs, NYV has made many guest appearances on recordings andlive performances that have earned them critical acclaim and kept them in demand in avariety of musical settings. They have performed on such CDs as the Grammy awardwinning collaboration, Count Basie Orchestra with New York Voices; the contemporaryclassical The Ancient Tower; Heirs to Jobim; A Love Affair — The Music of Ivan Lins;Irving Berlin’s Louisiana Purchase, and many more. They have had the pleasure ofperforming with a number of influential jazz artists including Ray Brown, Bobby McFerrin,Nancy Wilson and George Benson.

Along with their extensive concert performances and recording dates, NYV also works inthe field of education, giving workshops and clinics to high school and college musicstudents. The group hopes to continue to explore all styles of music, and expand theiraudience for years to come.

New York Voices

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Singers Biographies歌手介紹

金．納扎拉利安 Kim Nazarian

金．納扎拉利安生於是紐約州北部，於伊薩卡學院以優異成績畢業。她是紐約之聲的創辦成員。

此外，她還在眾多唱片客串演出，包括喬．內格里的《里約的下午》、廿一世紀搖擺樂隊和廣受好評的《南希．威爾遜聖誕歌集》等。她曾參與長駐波士頓的「迴聲」樂隊的表演和錄音，現正參與錄製巴比．麥克菲林即將推出的唱片。

納扎拉利安業餘還從事教學工作，在多個工作坊和碩士班授課。她對樂聲技巧的處理方法和音樂能力備受讚賞，現正製作一本教育書籍和錄像，闡述她的演唱技巧。

A native up-state New Yorker and Magna Cum Laude graduate ofIthaca College, Kim Nazarian is a founding member of the NewYork Voices, formed in 1987. She has recorded numerous CD’sand toured the world with this outstanding vocal quartet.

Additionally she is a featured artist on a number of CDs includingAfternoon in Rio with Joe Negri, The 21st Century Swing Bandand the highly acclaimed A Nancy Wilson Christmas. She hasperformed and recorded with the Boston based band El Eco andis working with Bobby McFerrin on his upcoming recording project.

Nazarian also teaches privately, at workshops and master classes,and is producing an educational book and video/DVD coveringher critically acclaimed approach to vocal technique and musicalsensibilities for singers.

達曼．米德 Darmon Meader

在爵士樂界，達曼．米德的唱功和樂器演奏皆獲肯定，被認為是當今爵士樂界最重要的歌手、編曲家和薩克斯管手。作為紐約之聲的創辦人、音樂總監、主要編曲、作曲、監製、薩克斯管手和主唱，他迅速在國際打響名堂。

除了參與紐約之聲的巡演和錄音，米德還忙於擔任伴奏、大學講習班導師及錄音室樂師。

Recognised in both the jazz vocal and instrumental world, Meaderis considered one of the premier vocalists, arrangers andsaxophonists in jazz today. He has achieved rapid internationalrecognition as the founder, musical director, chief arranger,composer, producer, saxophonist and vocalist with New YorkVoices.

In addition to his continuing New York Voices touring and recordingcommitments, Meader is increasingly busy as a sideman, universityclinician and studio musician.

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彼得．埃爾德里奇 Peter Eldridge

除了參加紐約之聲的活動，彼得．埃爾德里奇還從事各種表演、錄音、作曲、製作和教學。他曾推出兩張個人唱片，《不再受騙》充滿「優美的音調和讓人深思的歌詞，既普世又有個性」（「全音樂」網站評語），而憂傷但帶搖擺味道的《城中異客》則邀來米高．布雷克、克勞狄奧．羅迪蒂、路易斯．納什和羅梅羅．盧班博等爵士樂名人助陣 。

埃爾德里奇任教曼克頓音樂學校爵士聲樂系，並到各地指導碩士課和研習班。未來活動包括與伊凡．林斯、巴比．麥克菲林和百老匯女歌星貝蒂．巴克利合作。

Aside from his engagements with the New York Voices, PeterEldridge mixes together all aspects of performing, recording,composing, producing and teaching. He has released two solo CDs,Fool No More, full of “beautiful tunes with insightful lyrics that areboth universal and personal” (Allmusic.com) and the melancholy,yet swinging, Stranger in Town, bringing together jazz luminariesMichael Brecker, Claudio Roditi, Lewis Nash and Romero Lubambo.

He is part of the jazz voice faculty at the Manhattan School ofMusic and travels widely conducting master classes andworkshops, and one of his many talented students is Jane Monheit.His future activities include projects with Ivan Lins, Bobby McFerrinand Broadway diva, Betty Buckley.

羅倫．金漢 Lauren Kinhan

羅倫．金漢於百克里音樂學院畢業，加入紐約之聲樂隊逾十年。1997年獲作曲家名人紀念堂和藝人協會SESAC頒予奧勒曼獎學金，表揚她在作曲的卓越成就。

她參與的唱片包括奧內特．科爾曼的《音響展覽館：三個女人》，該唱片在1997年被《強拍》雜誌評為年度最佳爵士樂唱片。1999年，她首次灌錄個人唱片《眨也不眨》，這張不拘一格的專輯，由樂壇三位紅人菲爾．拉蒙、法蘭克．菲利佩蒂和羅布．芒西監製。她對作曲的專注，使她最近參與巴比．麥克菲林的合唱曲集，這是麥克菲林一個多聲合唱計劃的合集。

Lauren Kinhan is a graduate of the Berklee College of Music, andhas been a member of the New York Voices for over a decade. In1997 the Song Writer’s Hall of Fame and SESAC awarded Kinhanthe Abe Oleman Scholarship for song writing excellence.

She appeared on the critically acclaimed CD by Ornette Coleman,Sound Museum, Three Woman, voted Downbeat’s 1997 Jazz Recordof the Year. In 1999 she recorded her debut solo project, HardlyBlinking, an eclectic set of original songs, produced by three musicalpowerhouses Phil Ramone, Frank Filipetti and Rob Mounsey.

Her focus on songwriting has recently meant she was involved inthe grass roots development of Bobby McFerrin’s choral project;a collection of his original songs set for multiple voices.