发售【北京】Blue Note Beijing JOEL ROSS GOOD VIBES

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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

Joel Ross - Vibraphone

Immanuel Wilkins - Alto Saxophone

Jeremy Corren - Piano

Or Bareket - Bass

Kush Abadey – Drums

“颤音琴演奏家 Joel Ross 已经是广为人知的爵士乐先锋人物。《Kingmaker》 他的首张正式唱片。现已在Blue Note唱片公司发行,展现出他创作的作品充满着生命力。”——《纽约时报》

“这位23岁的颤音琴手首张专辑表现非常亮眼,带着一种狡黠与神秘感…《Kingmaker》令人赞叹不已…是今年爵士乐界最有前途的专辑之一,但显然Ross才刚刚起步。”——Pitchfork

“Ross是一位冉冉升起的年轻颤音琴手,正在他自己火箭般的轨迹上飞驰。在接下来的几个月,他会是我主要关注的音乐人之一。”——Nate Chinen,《纽约时报》

‘我一直深信不疑自己将来会做音乐’Joel Ross说道,他是全美现在最令人激动的新颤音琴演奏家。“我一生都想找到一个方法去做到这点”。在过去的几年里,对于狂热爱好者们来说,跟上所有的这些方法已经变成了一种艺术技巧上的实践与磨炼。这位芝加哥出生,扎根于布鲁克林的演奏与作曲家可以令周遭事物立刻变得有趣:从极具创新性的专辑(Mayaka McCraven《Universal Beings》和Walter Smith 3&Mattew Stevens的专辑《In Common》)到稳当的革命性组合(Marquis Hill Blacktet和Peter Evans的专辑《Being & Becoming》)再到被评为Blue Note2018突破明星的James Francies(专辑《Flight》)的初次登场。即使他已有自己的乐队(包括了四重奏和一支大型合奏团,他们的致力于演奏风格如Ornette Coleman 和 Keith Jarrett的美国四重奏乐队的音乐)Ross基本上是个活的木琴天才拥有无限创意。但2019是他一举成名的一年,随着他加入了Blue Note唱片公司,并且将他的名字写进了一个杰出的颤音琴品牌,该品牌从Milt Jackson与Bobby Hutcherson 到 Stefon Harris 直到现在的Ross一直在传承着。

Ross成长于一个位于宁静南方社区的和谐家庭,他有3个姐姐和一对当警察的父母。三岁时,他和他的双胞兄弟花了许多的时间敲打着房子旁边的玩意儿。这被他们聪明的以为可以让家里给他们买独立的儿童尺寸架子鼓。不久之后他们便轮流坐在了教堂里头,当时他的父亲是合唱团的总监。他们也很快加入了学校的乐队,10岁时因为Joel是双胞中的弟弟,所以他把自己泡在了木琴上而他的哥还在到处跟人打架。他们参加了许多城市音乐会与爵士乐队的面试。

“坦率来说我的兄弟才是更好的鼓手”Ross承认“我们俩都晋级了因为我已经演奏过木琴。”他们说:“为什么你不试试颤音琴呢?”我说:“我不知道颤音琴是什么,我也不想去学这个。”但是最后他还是学了,而且从中找到了能表达自我最自然的方式。他时常通过芝加哥爵士乐学院的众多机会不断地练习与表演,后来成为了市里第一家公立艺术高中芝加哥艺术高中的第一批学生之一。通过学校与Theloniuous Monk爵士学院的合作关系,Ross得以和其他来自全美高中志同道合的朋友认识,还与 Herbie Hancock(2013届主讲人)一起即兴演出,并且同特别来宾Gerald Clayton学习,这也让他接触到Akinmusire的迷人音乐,特别是这位小号手有着在Blue Note的初亮相专辑《When the Heart Emerges Glistening》,Ross并不能马上明白这些,于是自然而然的,他热烈地投入到了解压每一个音符中。

不过他还没有过一位专门的颤音琴老师。直到Stefon Harris出现,他在一个音乐节上与Ross相识,并邀请Ross去试试加入他在北加州太平洋大学布鲁贝克学院的爵士五重奏。Ross成功了,并且在两年间努力地拆除并重新构造了他演奏乐器的方法。“Stefon彻底改造了我的技术”Ross说“我们也同时在学习他现在很著名的练耳方法”,将情感运用在和弦上并用新的方法去听和弦。我找出了我想要听到的声音“。Ross很快转到了新学校并与他在训练营,比赛与演出中结识的优秀音乐人成立了他的乐队Good Vibes。

“I never had a doubt that I was going to do music,” says Joel Ross, the most thrilling new vibraphonist in America. “My whole life it was just about finding a way to do it.” In the past few years, keeping up with all of those ways has, for aficionados, turned into a virtuosic practice unto itself. The Chicago-born, Brooklyn-based player and composer has a way of being everywhere interesting at once: from deeply innovative albums (Makaya McCraven’s Universal Beings, Walter Smith III & Matthew Stevens’ In Common ) to reliably revolutionary combos (Marquis Hill’s Blacktet, Peter Evans’ Being & Becoming) to the buzzing debut of Blue Note’s 2018 breakout star James Francies ( Flight ). Even with his own bands—which include quartets and a large ensemble dedicated to the works of and in-the-style-of Ornette Coleman and Keith Jarrett’s American Quartet—Ross is basically a living blur of mallets and talent and ideas. But 2019 is his year to be the star as he joins the Blue Note Records roster and adds his name to an illustrious jazz vibraphone legacy on the label that extends from Milt Jackson and Bobby Hutcherson to Stefon Harris and now Ross.

Ross grew up in a harmonious home with three older sisters and police officers for parents in a quiet South Side neighborhood. By 3, he and his twin had spent enough time beating on things around the house that it was deemed wisest to buy them separate toddler-sized drum sets. Before long they were taking turns sitting in at church, where dad was choir director at one point. They joined the school band as soon as they could, age 10, and since Joel was the younger twin, he was consigned to xylophone while his brother hit skins. They auditioned for the multi-school All City concert and jazz bands too.

“To be fair my brother was the better drummer,” Ross admits. “We both made the cut and since I already played mallets they said, ‘Why don’t you try vibraphone?’ I was like, ‘I don’t know what a vibraphone is. I don’t want to do this.’” But he did, and found it the most natural way to express himself. He practiced and played constantly through numerous opportunities from the Jazz Institute of Chicago, and later became one of the first students at the city’s first public arts high school, Chicago High School for the Arts. Through ChiArts’ partnership with the Thelonious Monk Institute of Jazz, Ross got to meet kindred spirits at other high schools around the country, jam with Herbie Hancock (his class of 2013 keynote speaker), and learn from special guest Gerald Clayton, a gateway to the beguiling music of Akinmusire, in particular the trumpeter’s own Blue Note debut When the Heart Emerges Glistening , which Ross didn’t immediately understand, so, naturally he became keenly devoted to unpacking every note.

Still, he’d never had a dedicated vibraphone teacher. Enter Stefon Harris, who after meeting Ross at a festival, invited him to try out for his Brubeck Institute Jazz Quintet at University of the Pacific in North Cal. Ross won it, and for two intense years worked to tear down and rebuild his approach to the instrument. “Stefon completely revamped my technique,” says Ross. “We were also learning his [now-famous] ear-training method, applying emotions to chords and hearing harmony in new ways. I figured out how I wanted to sound.” Ross soon transferred to the New School and formed his band Good Vibes featuring his favorite players he met at camps, contests, and gigs along the way.

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