John Scofield Plays the Music of Ray Charles
樂隊成員 Musicians
訪問
生平介紹
Dean Bowman
加里．弗賽斯
Gary Versace
Ruben Rodriguez
史提夫．哈斯
Steve Hass
約翰．斯科菲爾德談音樂
Words and Music with John Scofield
雷．查爾斯
Ray Charles
約翰．斯科菲爾德
John Scofield
樂 手
Musicians
結 他 Guitars
約翰．斯科菲爾德 John Scofield
主唱 Vocals
迪安．鮑曼 Dean Bowman
低音結他 Bass
魯賓．羅德里格斯 Ruben Rodriguez
鍵 盤 Keyboards
加里．弗賽斯 Gary Versace
鼓 Drums
史提夫．哈斯 Steve Hass
本節目音響器材由通利琴行贊助
The audio equipment is sponsored by
演後藝人談 Meet-the-Artist (Post-Performance) 24.2.2006 (五Fri)
歡迎觀眾演出後留步，與約翰．斯科菲爾德見面
If you would like to meet John Scofield, please stay behind in the auditorium after the performance
封面照片
Cover image © Jason Tanaka Blaney
© Ken Schles
約翰．斯科菲爾德
談音樂 訪問：查爾斯．馬田
你巡迴演出的樂手跟你灌錄唱片時的不 同，這會給你不同的效果嗎？
是的，我不想重複唱片况的編曲。每個 人都在音樂中發揮各自的特點，而我認 為音樂是會隨着時間改變的。況且，我 們一起演出已有幾個月了，可以說，我 們對彼此的認識，要比唱片况樂師之間 的認識更深。我們有更多的獨奏，演出 更有生氣。我們也會演唱沒有收錄在唱 片况的雷．查爾斯的歌曲，例如《讓美 好時光延續》和《讚美上帝，我多麼愛 她》。
通常來說，你的歌都是先在巡迴表演中演唱，然後才灌成唱片的嗎？
通常是這樣的。但《這是我所說的》是一張星級唱片，有名牌歌手，節奏部份則全由錄 音室樂手負責。通常來說，每張唱片都經過巡演的考驗。但是我們在巡演中把歌曲加以 發揮，以不同風格演繹。自開始巡演以來，我已有好些新構思；你也知道，我們的低音 結他手魯賓．羅德里格斯來自拉丁爵士樂界。因此，當我們表演《我要說的》時，全曲 就更具古巴黑人音樂的風味了。在我們為《上路吧傑克》編曲時，錄音室樂手會傾向以 節奏藍調的風格去演繹，但我們的樂隊在巡迴演出中可更無拘無束。
談談查爾斯吧。
最初我是藍調結他手，那時候我大約十三歲。六十年代，我從電台况聽查爾斯的歌，他 當時是大牌流行歌星。我喜歡他的音樂。我十幾歲的時候擁有他早期的作品，也很喜歡 那些歌曲。他使我懂得什麼是爵士樂和騷靈音樂，並說明了兩者是相關的。我想，我們 大家都受他影響。
© Ken Schles
但是，很多爵士樂手最初都是玩流行音樂或騷靈，然後才玩爵士樂。但你卻一直保持着 這種聯繫。
我一向都很喜歡爵士樂和騷靈。不少爵士樂手也別具藍調味。我一直都喜歡藍調，它與 我的音樂不可分割。
是弗爾夫唱片公司向你提出灌錄雷．查爾斯紀念專輯的。
是的，那時我差點就拒絕他們。我是那種「我是藝術家 別告訴我該做什麼 ! 」的 人。但細想一下，覺得這主意還真不錯。如果我是鋼琴手或歌手，我永遠不會這樣做， 就如我很難做到向我喜歡的結他手致敬，因為我會模仿他們。但我怎麼也模仿不到雷． 查爾斯，他有這麼多出色的作品，我們可以隨意發揮，因為那都是民謠、藍調的東西， 都適合拿來改編、再改編。
你還會做其他人的紀念專輯嗎？
當然會，可是那人一定要像查爾斯那樣兼容並蓄，因為查爾斯有很多作品給爵士樂手選 擇。我真的沉醉在那些音樂中，其他人也一樣。以前我從未演繹過歌手的歌 那真 是很開心，我喜歡歌手和歌曲。那種老是一個接一個的多音爵士樂獨奏令我心煩，這會 成為爵士樂的不幸。所以，跟一位歌手合作以抵銷那些雜音，真是再好不過了。
你提到有些現場錄音深深打動了你：比爾．埃文斯的《星期日在前衛村》、索尼．羅林 斯的《在前衛村的一夜，吉姆廳現場演唱會！》 和科蘭特的《前衛村現場演唱會》。還 有什麼演唱會使你有這種不同的感受？
孟克在前衛村的演唱會，把我都鎮住了。我在波士頓爵士樂作坊也聽過邁爾斯與賈雷特 的演唱會，還有，斯萊與史東家族樂隊剛出道時，我在一間小夜總會聽過他們的演唱。 那真的很讓人陶醉。我上波士頓貝克利音樂學院時，每週都參加爵士樂作坊。我聽過所 有在 1970 年表演的樂隊，邁爾斯、史丹．傑茨、麥科伊．泰納的早期樂隊，還有最初 的天氣報告樂隊。聽過比爾．埃文斯三重唱樂隊好多次，還有霍拉斯．西爾弗與年輕的 布雷克兄弟組成的樂隊。喬治．本森和他的樂隊也有很成功的演出︙︙ 難怪人們在談到你的風格時，往往會說「不拘一格」。
你知道，我總是一邊與一支放克爵士樂隊合作，一邊與一支更標準的樂隊玩。現在這支 樂隊在兩方面都結合得挺好。其中有查爾斯廣博的曲目，這樣我們可以玩比波普爵士樂 和放克爵士樂。以前我總是把兩者分開。
被冠以不拘一格這個稱號，是有原由的。
對。表演時，我們把這些融合起來。節奏部分可以搖擺，也可以放克。我喜歡搖擺，同 時玩放克音樂 一個晚上能全都玩上，太過癮了。
Words and Music with John Scofield
by Charles Martin
Your touring band is different from the one that played on your record. Is that giving you a different sound?
Yes. You wouldn’t want to copy the arrangements on the record. Everyone brings their individual touch to the music, and I think the music changes over time. But we’ve been playing together for months, and in a way we know each other better than the musicians that appeared on the record. We’re taking more solos, jazzing it up more. We’re also doing other Ray Charles songs that aren’t on the CD, like Let the Good Times Roll and Hallelujah, I Love Her So
Normally do you take music on the road before you record?
Normally, yes. But That’s What I Say was an all-star record, with big star singers, and the rhythm section were all studio players. Normally a recording is road-tested beforehand. But on the tour we’ve elaborated and stretched it out. I’ve had some other ideas since we started, and you know our bass player, Ruben Rodriguez, is from the Latin jazz scene. So when we play What’d I Say, it gets even further into an Afro-Cuban thing. In our arrangement of Hit the Road Jack, the studio players were more comfortable in the R&B style. But on the road, our band can swing.
Talk about Ray.
I was a blues guitarist first, when I was about 13. I heard Ray Charles on the radio, in the 1960s, when he was a big pop star. I loved it. Then I got some of his earlier stuff, when I was a teenager, and I just loved that too. He taught me about jazz and soul music, and showed that they were related. I think he influenced all of us.
But lots of jazz players start with pop or soul, and move on. You’ve kept the connection in your music.
I’ve always been into both jazz and soul music. There have always been bluesy jazz players. I’ve always loved the blues. It’s part of my sound.
Verve came to you with the idea of doing the Ray Charles tribute. Yeah, and I was ready to shoot ‘em down. I’m like, “I’m an artist don’t tell me what to do!” Then I thought that this could be cool. If I were a pianist or singer I never would have done it, just as I’d be hard pressed to do a tribute to my favourite guitar players, because I’d want to copy them. There’s no way I can copy Ray Charles. But here’s this great body of music that can be arranged and messed with, because it’s folkloric, bluesy stuff. That’s the type of stuff that’s fun to arrange and rearrange.
Could you ever see doing a tribute to anyone else?
Sure. But it would have to be something as all-encompassing as Ray. With Ray, there’s so much for a jazz artist to choose from. I really got into it musically, and so did all the people. I’ve never really done that with singers before — that was a blast. I love singers and songs. I get really bummed out with multi-noted jazz solos one after the other all the time. That could be the curse of jazz. It’s great to work with a singer to offset that.
You mentioned that some live recordings affected you deeply: Bill Evans’ Sunday at the Village Vanguard, Sonny Rollins’ A Night at the Village Vanguard, Jim Hall Live!, and Coltrane’s Live at the Village Vanguard. Did any concerts ever make that kind of difference to you?
Monk at the Vanguard, that blew me away. I heard Miles with Jarrett at the Jazz Workshop in Boston. I also heard Sly and the Family Stone when they first came out, in a small club. That was magic. When I went to Berklee College of Music in Boston, I went to the Jazz Workshop every week. I heard all the groups that were playing in 1970 Miles, Stan Getz, McCoy Tyner’s early band, the first Weather Report. I heard the Bill Evans trio many times. Also Horace Silver’s Band with the young Brecker Brothers. George Benson would come through with his band...
Not surprisingly, the word ‘eclectic’ comes up in conversations about your style.
You know, I’ve always had one band that was a funk project, and one that’s more straight ahead. This band is pretty good at combining both. Part of it is the width and breadth of Ray’s repertoire that allows us to play bebop and funk. Before now I’ve always kept them separate.
That’s how you got the eclectic label.
Right. On the gig, we’re integrating them. The rhythm section can swing and they can funk out. I love to swing and do the funky stuff too — it’s great fun to do it all in one night.
Ray Charles
(1930-2004)
感
情充沛，風格獨特的雷．查爾 斯，是二十世紀最有影響力的音 樂家之一。他給節奏藍調加進了 精力旺盛的福音聲部，這種革命性的創舉 在很大程度上影響了騷靈音樂的發展。
雷．查爾斯 1930 年生於喬治亞州阿爾巴 尼，在佛羅里達州的格林維爾長大。他六 歲即因青光眼而失明，從1937至1945年， 他就讀聖奧古斯汀失明失聰學校。他在學 校况學懂彈鋼琴，後來又學了單簧管和中 音薩克斯管，為大樂隊作曲，以及讀寫盲 人樂譜。查爾斯十五歲時成了孤兒，遂獨 自出來闖蕩，在佛羅里達各地的樂隊中表 演，十七歲遷往西雅圖。他在西雅圖創辦 馬克西姆三重唱樂隊，樂隊走納特．金． 科爾的路線。
1952 年，查爾斯放棄科爾的風格，開始把 福音音樂的技巧融入藍調歌曲中，旋即以 《那應該是我》一曲風行於世。在整個五十 年代，他登上節奏藍調流行榜的暢銷歌曲 計有《我有一個女人》、《做你的傻瓜》、《淚 流滿臉》、《讚美上帝，我多麼愛她》和《寂 寞大街》。他還因 1959 年在紐波特爵士音 樂節上演出而廣受爵士樂迷歡迎，並以他 自己作曲的《我所說的》確立了作為騷靈音 樂先驅的地位。
1961 年，他的《喬 治亞在我心中》、 《上路吧傑克》、
《紅寶石》和《解除心中束縛》相繼成為流行 榜首歌曲。 1962 年他成立雷．查爾斯企 業，旗下有橘子唱片公司、橘子音樂公司 和賽跑者音樂公司，在洛杉磯設有錄音室 和辦公室。
在此後的音樂生涯中，查爾斯常常到各地 巡演、寫作和經常在電視、電影中亮相。
查爾斯於 1982 年進入藍調基金會的名人 堂， 1986年晉身首屆搖滾樂名人堂，1992 年獲克林頓總統授予國家藝術獎章。
至今，雷．查爾斯一直是流行音樂最重要 的影響之一。由披頭四到凡．莫里森，許 多歌星和樂隊都表示他們受到他那激情澎 湃的演唱和融合不同體裁的才能所影響。
法蘭．仙納杜拉則稱他是「這個行業中惟一 的天才」。雷．查爾斯於 2004 年 6 月 10 日 逝世。
Ray Charles’ distinctive, emotionallycharged style made him one of the most influential musicians of the 20th century. His revolutionary addition of high-energy gospel vocals to R&B was, to a large degree, responsible for the development of soul music.
Born in Albany, Georgia, in 1930, Ray Charles Robinson grew up in Greenville, Florida. He began to loose his sight from glaucoma at the age of six and from 1937 to 1945 he attended the St Augustine School for the Deaf and Blind. There he learned to play the piano and later the clarinet and alto saxophone, composed for big bands, as well as learning to read and write music in Braille. Orphaned at 15, Charles struck out on his own performing in bands around Florida and at the age of 17 he moved to Seattle. There he formed
the Maxim Trio, a group grounded in the style of Nat King Cole.
In 1952 Charles gave up the Nat King Cole stylisation and began adapting gospel music techniques to blues lyrics, and soon had a hit with It Should Have Been Me . Through the 1950s he had hits on the R&B and pop charts with I’ve Got a Woman, A Fool for You, Drown In My Own Tears, Hallelujah I Love Her So and Lonely Avenue He also became popular with jazz fans performing a set at the Newport Jazz festival in 1959 and established himself as a pioneer of soul music with his own composition What I Say
Through 1961 he had top pop hits with Georgia on My Mind, Hit the Road Jack, Ruby and Unchain My Heart . In 1962 Charles formed Ray Charles Enterprises, which comprised of Tangerine Records, Tangerine Music and Racer Music Company opening studios and offices in Los Angeles.
Throughout the rest of his career, Charles was often in the public eye touring, writing and making frequent appearances on television and in the movies. Charles was inducted into the Blues Foundation’s Hall of Fame in 1982 and the Rock and Roll’s Hall of Fame in its inaugural year 1986. In 1992 President Bill Clinton awarded him the National Medal of Arts.
Ray Charles was one of the most important influences on popular music. His passionate singing and intelligent melding of different genres has been cited as an influence by stars from The Beatles to Van Morrison. Frank Sinatra called him “the only genius in the business”.
Ray Charles died on 10 June 2004.
約
翰．斯科菲爾德是當今「三大」 崛起於七十年代末期的爵士結
他手之一（另兩人是帕特．梅 思尼和比爾．弗里塞爾）。他擁有非常 獨特的樂音和多樣化的風格，是一位 精采絕倫的爵士樂即興表演者，其音 樂風格介於後波普、放克味爵士樂和 節奏藍調之間。
斯科菲爾德 1951 年 12 月生於俄亥俄 州，在康涅狄克州的威爾頓成長。他 十一歲開始學結他，十三歲開始在搖 擺樂隊中當職業結他手。他很早就愛 上爵士樂，1970 至1973 年進波士頓貝 克利音樂學院學習。他在卡內基音樂 廳與杰里．穆利甘和切特．貝克作首 次錄音之後，加入比利．科布罕 - 喬 治．杜克樂隊兩年。 1977 年，他與查 爾斯．明格斯一同灌錄唱片，然後加 入加里．伯頓四重奏樂隊， 1978 年開
John Scofield is one of the ‘big three’ of current jazz guitarists (along with Pat Metheny and Bill Frisell) whose influence began in the late 1970s. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz and R&B.
John Scofield was born in Ohio in December 1951 and raised in Wilton, Connecticut. He began studying guitar at age 11 and was playing professionally in rock bands from the age of 13. Already a jazz lover, he attended Berklee College of Music in Boston from 1970-73. After a debut recording with Gerry Mulligan and Chet Baker at Carnegie Hall, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus and joined the Gary Burton quartet, beginning his
© Ken Schles
始其國際藝人生涯，成為樂隊領班和 錄音藝術家。1982 至1985 年期間，斯 科菲爾德與邁爾斯．戴維斯到世界各 地巡演和錄音，奠定了他在爵士樂界 的重要地位。自此，他率領自己的樂 隊，以樂隊領班的身份灌錄三十多張 唱片，合作的知名樂手包括查利．哈 登、帕特．梅思尼、傑克．德約內 特、喬．洛瓦諾和埃迪．哈里斯等。
斯科菲爾德還與眾多爵士音樂傳奇人 物同台表演，包括東尼．威廉斯、 詹．霍爾、朗．卡特、赫比．漢科 克、喬．韓德森、查爾斯．明格斯、 達夫．霍蘭德、日野皓正等。
斯科菲爾德 1996 年加盟弗爾夫唱片公 司，推出純樂器唱片《安靜》。在其音 樂生涯中，他既表演傳統爵士樂目， 又表演帶有放克爵士風格的電子音 樂，這包括 1998 年與梅德斯基、馬田 和伍德合作的暢銷唱片《亞哥哥》。
2001 年灌錄的《為我工作》，是較傳統 的爵士樂，並有布拉德．梅爾度演奏 鋼琴。 2002 年，斯科菲爾德的《于巴 詹》和接下來的《徹夜興奮》則重拾放克 風格。 2004 ，他推出廣受好評的三重 奏現場錄音唱片《在途中》，表演者包 括史提夫．沃洛和比爾．史釗域。同 年推出的還有管弦樂作品《燒焦》，這 張由他本人和馬克 - 安東尼．圖納杰作 曲的唱片，又一次證明他多才多藝。
2005 年 6 月，《這就是我說的 約 翰．斯科菲爾德演奏雷．查爾斯的音 樂》是斯科菲爾德首次與歌手合作。
斯科菲爾德每年與自己的樂隊巡演約 二百天，他還與傑克．德約內特和拉 里．戈登斯組成一支紀念鼓手東尼． 威廉斯的樂隊「超越三人組 頌揚東 尼．威廉斯的一生」。
斯科菲爾德業餘任紐約大學音樂系副 教授。
international career as a bandleader and recording artist in 1978. During 1982-1985 John Scofield toured the world and recorded with Miles Davis, which placed him firmly in the foreground of jazz consciousness. Since that time he has led his own groups, recorded over 30 albums as a leader in the company of such major players as Charlie Haden, Pat Metheny, Jack DeJohnette, Joe Lovano and Eddie Harris. Scofield has also played with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Charle Mingus, Dave Holland and Terumasa Hino among other jazz legends.
Scofield started a relationship with the Verve label in 1996 with his acoustic album, Quiet Throughout his career John Scofield has punctuated his traditional jazz offerings with funk-oriented electric music, including the commercial hit A Go Go with Medeski, Martin and Wood in 1998. Works for Me, recorded in 2001, included Brad Mehldau on piano and featured a more traditional jazz sound. In 2002 Scofield’s Uberjam and the following Up All Night returned to his funkier side. Of his latest recordings, the critically acclaimed En Route, released in 2004, is a live recording of the John Scofield Trio featuring Steve Swallow and Bill Stewart. Also released in 2004, Scorched is an orchestral piece (SCO ORCHestratED) composed by Scofield and Mark-Anthony Turnage providing another window into his varied talent. That’s What I Say — John Scofield Plays the Music of Ray Charles released in June 2005, is Scofield’s first recording with singers.
Touring approximately 200 days a year with his own groups, Scofield is also member of the co-led group The Beyond Trio — Celebrating Tony Williams Lifetime with Jack DeJohnette and Larry Goldings.
In his free time, Scofield is an Adjunct Professor of Music at New York University.
迪安．鮑曼 Dean Bowman 主唱 Vocals 迪安．鮑曼生於 1963 年，是地道的紐約人，當然也是紐約市前衛音樂 界的佼佼者之一。他被蘇．明格斯譽為「自鮑比．麥克弗林後最重要的 爵士樂歌手」。鮑曼是一位成就極高且不拘一格的歌手，超越了爵士 樂、福音音樂和硬搖滾等類型。他曾與唐．拜倫、萊斯特．保兒、烏 里．凱恩、珍．布內特、艾略特．夏普、史丹利．考威爾、德維．雷 德曼、查利．亨特四重奏、拉里．克拉梅、費馬．埃弗羅姆、丹尼． 薩道尼克、佐佐．邁耶和斯科菲爾德等音樂家表演和錄音。鮑曼在獨 唱音樂會上演唱的傳統黑人靈歌和早期福音音樂，令人如癡如醉。除 了獨唱音樂會外，鮑曼還與不同樂團合作，包括三重放克特洛伊、騷 靈三部曲、波普斯古爾、黑人靈歌四重唱（尚有鋼琴家和編曲家詹姆 斯．魏德曼 )和十支民謠二人組（尚有鋼琴家尼古拉．赫斯 ) 。鮑曼的聲 音，還可以於新力「遊戲站」遊戲「動感小子 2」中聽到。
Born in 1963, Dean Bowman is a native New Yorker and without a doubt, one of the most prominent contributors to the New York City avant garde music scene. Hailed by Sue Mingus as “the most important jazz vocalist since Bobby McFerrin,” Bowman is a highly accomplished and eclectic vocalist, transcending the genres of jazz, gospel and hard rock. Bowman has performed and recorded with Don Byron, Lester Bowie, Uri Caine, Jane Bunnett, Elliott (E#) Sharp, Stanley Cowell, Dewey Redman, Charlie Hunter Quartet, Larry Cramer, Fima Ephrom, Danny Sadownick, JoJo Mayer and John Scofield among others. Dean Bowman performs spell-binding solo concerts of traditional Black spiritual and early gospel music. In addition to his solo performances, Bowman is associated with various ensembles, which include TriFunkTory, Soul Trilogy, Bopskool, the Black Spirituals Quintet (with pianist and arranger James Weidman), and Ten Ballads duo (with pianist Nikolaj Hess). Dean Bowman’s voice is also featured in the Sony Playstation game PaRappa the Rapper 2.
加里．弗賽斯 Gary Versace
鍵盤 Keyboard 加里．弗賽斯生於 1968 年，在康涅狄克州的格林威治成長， 1991 年畢 業於康涅狄克大學， 1993 年獲羅切斯特大學伊士曼音樂學校碩士學 位。弗賽斯於 1993 年至 2000 年擔任俄勒岡 - 尤金大學音樂教授，後來 遷居紐約市，開始其演藝事業。出道以來，他曾與瑪麗安．麥克帕 蘭、約翰．阿伯羅姆比、馬特．威爾遜、瑪麗亞．施耐德、斯科菲爾 德和大紐約區各地的無數樂團同台表演和錄音。
Born in 1968, Gary Versace was raised in Greenwich, Connecticut. He is a 1991 graduate of the University of Connecticut and received a Master’s degree from the Eastman School of Music at the University of Rochester in 1993. Versace was a professor of Music at the University of Oregon-Eugene from 1993 to 2000. Following his years in Oregon, Versace moved to New York City to begin a career as a performer. Since his move, he has performed and recorded with Marian McPartland, John Abercrombie, Matt Wilson, Maria Schneider and John Scofield, as well as with countless ensembles throughout the greater New York area.
魯賓．羅德里格斯 Ruben Rodriguez 低音結他 Bass
魯賓．羅德里格斯生於紐約市，成長於東哈萊姆和波多黎各，被譽為 美國最頂尖和最努力的拉丁音樂低音結他手之一。他父親是古典結他 手。他初中時就自學低音結他，後來師從著名低音結他手維托克．弗 內加斯。
1979
年，他與約翰尼．科隆同台表演，取得第一次大突破， 此後與眾多音樂家合作，包括小格羅弗．華盛頓、羅伯塔．法拉克、 蒂托．普恩特、加托．巴比耶里、斯科菲爾德、蒂托．羅賈斯、路易 斯．拉米雷斯、雷．德拉帕斯、威利．科隆、達夫．瓦倫丁、查利和 埃迪．帕爾邁耶里、希爾頓．魯伊斯、約翰尼．帕切科、荷西．法賈 多、法尼亞全明星和已故的偉人馬齊托。他的唱片種類繁多，包括與 馬克．安東尼、蒂托．普恩特、維托克．曼努埃爾、蒂托．尼耶弗 斯、印非樂隊合作，最近則與切利亞．克魯斯、路易斯．恩里克和加 勒比海爵士計劃樂隊合作。他與他的製作人和友人塞吉奧．喬治被認 為是當代流行薩爾薩舞曲的革新者。
Ruben Rodriguez was born in New York City and grew up in East Harlem and Puerto Rico. He has been recognised as one of the best and hardest working Latin music bass players in the US. Rodriguez, whose father played the classical guitar, taught himself the bass in junior high school, later spending time under the tutelage of the esteemed bassist Victor Venegas. Since getting his first big break playing with Johnny Colon in 1979, he has worked with Grover Washington Jr, Roberta Flack, Tito Puente, Gato Barbieri, John Scofield, Tito Rojas, Luis Ramirez, Ray de la Paz, Willie Colon, Dave Valentin, Charlie and Eddie Palmieri, Hilton Ruiz, Johnny Pacheco, Jose Fajardo, The Fania All Stars, and the late, great Machito. His exhaustive discography includes work with Marc Anthony, Tito Puente, Victor Manuelle, Tito Nieves, India and Africando, and most recently, Celia Cruz, Luis Enrique and the Caribbean Jazz Project. Along with his producer and friend, Sergio George, Ruben Rodriquez has been noted as revolutionising the sound of contemporary popular salsa.
史提夫．哈斯 Steve Hass 鼓 Drums 父母來自希臘的史提夫．哈斯生於 1971 年，在紐約市長大。 1997 年於 伯克利音樂學院畢業後便開始工作。哈斯曾與亞特．加芬高、切爾、 蘇珊．維加、拉維．科蘭特、克里斯蒂安．麥克布賴德、理查德．波 納、曼哈頓中轉站和斯科菲爾德等人合作。除了對傳統爵士樂和搖滾 樂的研究，哈斯也着重研究古巴、非洲、印度和中東音樂。他到世界 各地作專業表演時，對當今各種不同音樂風格兼容並蓄，演繹風格有 爵士樂、嘻哈樂、世界音樂和搖滾樂。
Steve Hass was born in 1971 and raised in New York City by Greek immigrant parents. He graduated from the Berklee College of Music in 1997 and has since toured and recorded with Art Garfunkle, Cher, Suzanne Vega, Ravi Coltrane, Christian McBride, Richard Bona, Manhattan Transfer and John Scofield.
Hass has made it a point to study music from Cuba, Africa, India and the Middle East, in addition to traditional jazz and rock. He embraces and employs all of these styles today, from jazz to hip-hop, from world music to rock, while travelling the world professionally.
