Paquito D’Rivera with the New York Voices 《巴西夢》Brazilian Dreams
封面圖片（紐約之聲）
Cover photograph (The New York Voices) © Robert Lewis
10 - 11.3.2006
香港文化中心音樂廳 Concert Hall
Hong Kong Cultural Centre
演出長約1 小時30 分鐘，不設中場 休息
Running time: approximately 1 hour and 30 minutes with no interval 柏克圖．迪里費拉
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
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 of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking,
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
主 唱 Vocals
紐約之聲 New York Voices
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
本節目音響器材由通利琴行贊助
The audio equipment is sponsored by
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
曲目及演出次序可能變更 Songs and their order are subject to change
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
A Night in Tunisia
Dizzy Gillespie Music
Darmon Meader Arrangement
Up Latin
Answered Prayers
Ivan Lins and Vitor Martins Music
Peter Eldridge English lyrics (based on Portuguese translation)
Darmon Meader Arrangement
Medium Samba
Baroque Samba
Darmon Meader Music and Arrangement
Samba
Caravan
Music
Duke Ellington, Juan Tizol and Irving Mills
Additional Music and Lyrics
Darmon Meader and Peter Eldridge
Darmon Meader Arrangement
Up Swing
Corcovado
Antonio Carlos Jobim Music
Lyrics
Frederick Eugene John “Gene” Lees
Darmon Meader Arrangement
Bossa Nova
Desafinado
Antonio Carlos Jobim Music
Darmon Meader Arrangement
Bossa Nova
Manha De Carnival / Gentle Rain
Luiz Bonfa Music
Matt Dubey Lyrics
Jay Ashby and Peter Eldridge Arrangement
Bossa Nova
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
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
Meu Amigo
Antonio Carlos Jobim Music
Darmon Meader Arrangement
Semi Classical / Latin
Minds of Their Own
Ivan Lins Music
Peter Eldridge Lyrics
Peter Eldridge and Darmon Meader Arrangement
Ballad / Bossa
Modinha
Antonio Carlos Jobim Music
English lyrics
Kim Nazarian and Cecilia Engelhart
Darmon Meader Arrangement
A cappella Ballad
Open Invitation
Darmon Meader Music
Lauren Kinhan Lyrics
Brazilian Feel
Retrato im Branco e Preto
Music and Lyrics
Antonio Carlos Jobim
Darmon Meader Arrangement
Bossa Nova
’Round Midnight
Thelonius Monk Music
Darmon Meader Arrangement
Ballad
Save Your Love For Me
Buddy Johnson Music
Darmon Meader Vocal Arrangement
Rob Mounsey Horn Arrangement
Swing Ballad
Snow Samba
Claudio Roditi and Paquito D’Rivera Music
Cecilia Englehart Lyrics
Darmon Meader Arrangement
Samba
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) 、
Born in Cuba, Paquito D’Rivera began his career as a child prodigy, playing both the clarinet and the saxophone with the Cuban National Symphony Orchestra. He eventually went on to premier several works by notable Cuban composers with the Orchestra.
A restless musical genius, D’Rivera formed and performed with various musical ensembles as a teenager and became one of the founding members of the Orquesta Cubana de Musica Moderna, which he subsequently conducted for two years.
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
In 1996, D’Rivera received a Grammy for his highly acclaimed recording, Portraits of Cuba, and in 2000 for his Tropicana Nights. In 2001, he received 柏
© Robert Bowman
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。
another Grammy for his Quintet’s recording of Live at the Blue Note, and he was also nominated in the Classical Crossover category for The Clarinettist Vol I. He won again in 2002 as a guest artist on a Bebo Vales Trio recording.
Paquito D’Rivera made history in 2003 for being the first artist to win Latin Grammies in both Classical and Latin Jazz categories for Stravinsky’s Historia del Soldado and Brazilian Dreams with the New York Voices. In 2004 he was awarded the title of Clarinettist of the Year by the Jazz Journalists Association.
Most recently in 2005, he received his 7th Grammy for Best Instrumental Composition for his piece titled Merengue, performed by the distinguished cellist Yo-Yo Ma, and was named a 2005 Jazz Master by the National Endowment for the Arts.
While D’Rivera’s discography includes over 30 solo albums in jazz, bebop and Latin music, his contributions to classical music are impressive. They include solo performances with the US National Symphony Orchestra, Brooklyn Philharmonic, London Symphony Orchestra and the Florida Philharmonic Orchestra, to name a few.
In addition to his extraordinary performing career as an instrumentalist, Paquito D’Rivera has rapidly gained a reputation as an accomplished composer. His work reveals his versatility and widespread influences from Afro-Cuban to the dance hall and back to his classical origins.
In 2000, Jazz at Lincoln Center commissioned D’Rivera’s Panamericana Suite , which was recorded for Public Radio in the US. In 2002 he was commissioned, by the US National Symphony Orchestra and the Rotterdam Philharmonic, to write a concerto Gran Danzon (The Bel Air Concerto) for the acclaimed flutist Marina Piccinini, which was performed under the baton of Leonard Slatkin at the Kennedy Center. The work was praised in the Washington Post as “a spiky and imaginatively coloured piece of Latin American orchestral writing”.
In 2005, D’Rivera was awarded the National Medal of the Arts, America’s highest honour made to an artist. He also received his 8th Grammy in the same year for Riberas with the Buenos Aires String Quartet.
爵士樂，拉丁風
The Latin in Jazz
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
From its very beginning in New Orleans, jazz had a ‘Latin tinge’, according to the great jazz pioneer, Jelly Roll Morton. When New Orleans was part of the Spanish dominion, Mexican influences pervaded the musical life of pre-jazz New Orleans. More significantly for the early development of jazz, New Orleans and Havana had been important trading partners, which entailed the constant flow of peoples, goods and music between the two ports. While ultimately the popular musical styles of the United States and Cuba more generally formed distinctive identities, the trademark of both styles has been the African call and response, improvisational, approach to the music, which is intensely inspirational and interactive. In American jazz improvisation finds its freest expression in the jam session, while in Cuban music it is found in the descarga. With this common parentage it was natural for these sibling musics to both challenge and admire each other; and the rivalry was often over who would lead the next dance.
In the early 20th century, ‘rumba’ fever swept across the United States partly through Cuban bandleader, Xavier Cugat. On the heels of rumba came a host of Cuban musicians, composers and arrangers among them Mario Bauzá, Machito, Chico O'Farrill and Cachao who made important contributions to the Big Band Swing productions of Benny Goodman, Chick Web and Cab Calloway. These Cubans also formed and led their own orchestras and ended up creating the mambo. Duke Ellington also introduced Latin rhythms into his band with the
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，
recruitment of Puerto Rican trombonist, Juan Tizol, who composed Caravan , one of the signature tunes of the Ellington band. In the 1940s bebop innovators, Dizzy Gillespie and Charlie Parker, along with Cuban percussionists Chano Pozo and Machito, began integrating Afro-Cuban rhythms into new creations and together they forged the most vibrant of hybrids, Cubop.
During the 1950s in New York, the Palladium and Birdland clubs showcased Puerto Rican, Cuban, Panamanian and Dominican musicians, and the audiences and musicians of New Orleans and Los Angeles jazz began to embrace the newer influences from the Caribbean. In San Francisco, the writers and poets of the Beat movement wove the sentiments and rhythms associated with Afro-Cubop into their creations. From then on, Latin jazz developed as a broad and fertile genre that inspired outstanding collaborations between leading musicians from both sides of the border.
From Brazil came Afro-Brazilian samba and bossa nova, which boosted the careers of many established jazz musicians including
© Robert Bowman
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 Herbie Mann. The more languid rhythms of bossa nova introduced fresh influences and made Brazil the leading Latin jazz source throughout the 1960s. Brazil, along with Cuba, was a centre of musical influence partly because of the subtle, beguiling melodies and poignant harmonies that it offered. The Brazilian influence endured and in the 1970s musicians such as Chick Corea, vocalist Flora Purim, and percussionist Airto Moreira combined Brazilian sounds with the more electric, jazz rock fusion styles of the day.
Meanwhile in Cuba, saxophonist and clarinettist Paquito D’Rivera, together with pianist, Chucho Valdez, formed Irakere, whose explosive mixture of jazz, rock, classical and Afro-Cuban music had never been heard before. Irakere’s 1978 performance at the Newport/New York and Montreaux jazz festivals caused a sensation, and a major outcome of the musical crossover was the historic Havana Jam in 1979, which featured numerous jazz and rock performers from the US and the best from the contemporary music scene in Cuba. Along with D’Rivera came other younger generation Latin jazz musicians who, throughout the 1980s, established themselves in the US; among these were trumpeter Arturo Sandoval, percussionist Jerry Gonzalez and pianist Danilo Perez. In 1988, D’Rivera and Dizzy Gillespie cofounded the acclaimed all-star United Nation Orchestra, a 15-piece ensemble that was created to highlight Latin jazz and in which D’Rivera was a featured soloist, composer and arranger.
In recent decades, the interchange between Latin music and jazz has thrived beyond the borders of the US and found fertile ground in Europe, Latin America and the ancestral homeland Africa. The musical landscapes of Africa and Latin America are regional and diverse, in the way that the US used to be. The likelihood that newer hybrids will emerge and establish Latin jazz as a more far-reaching genre is high. It may well be that Mr Jelly Roll’s famous dictum that ‘it ain’t jazz if it doesn’t have a Latin tinge’ may become a truism in a way that he never imagined.
a y s h b y A
杰伊．阿什比
長號 Trombone
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》。
Three-time Grammy-winner Jay Ashby is emerging as one of the bright soloists, producers and arrangers in 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 resulted initially in a ten year stint as soloist with Astrud Gilberto, and later led to arrangements, tours and recordings with various Brazilian artists and appearances with the founding fathers of bossa nova, Joao Gilberto and Antonio 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 Live from Paris, as well as performances on television.
With an extensive recording discography, Ashby has gained wider recognition as a composer and arranger, having written for various jazz and pop singers and musicians including Astrud Gilberto, Claudio Roditi, John Scofield and Hendrik Meurkens.
As a producer his projects include the Grammy award winning Count Basie Orchestra with the New York Voices and Grammy nominated Paquito D’Rivera and the United Nation Orchestra.
奧斯卡．史塔拿奴
低音電結他 Electric Bass
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》。
Peruvian Oscar Stagnaro studied at the Conservatory of Music in Lima, and worked extensively with many internationa and local bands before moving to the US in 1979. Since then, his mastery of playing different music styles from jazz and fusion to Latin jazz, Brazilian jazz and South American music has helped him travel the world performing with the very best Latin jazz artists. These include David Sanchez, Danilo Perez, Ray Barreto, Chucho Valdez, Rosa Passos, Claudio Roditi and Dave Liebman.
Stagnaro has been an Associate Professor at the Berklee College of Music since 1988, and has been largely responsible for the school’s development of Latin bass education, instituting several courses on Latin and world bass styles. He also teaches Latin Jazz Ensembles and Jazz Improvisation in the Jazz Studies Department at the New England Conservatory of Music.
He has an extensive discography which includes the Latin Grammy winners Live at the Blue Note (2001) and Brazilian Dreams (2003), both with Paquito D’Rivera, as well as recordings with the United Na tion Orchestra, the Caribbean Jazz Project, Oscar Feldman and Dan Moretti, among others. His first solo CD Mariella’s Dream was released in 2003.
M鼓 Drums
a r k a l k e r
馬克．沃克
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。
Grammy award-winning drummer and percussionist
Mark Walker comes from Chicago. He began playing drums at age ten and played his first professional gigs barely out of high school.
In 1989 Walker began a musical relationship with Paquito D'Rivera, which has earned him several Grammy awards and nominations for his recorded work. He continues to tour with D’Rivera’s various ensembles, from quintet to big band to orchestra.
Walker made his move to New York in 1995 and began touring and recording with the Caribbean Jazz Project. A short time later he did a two-year stint, touring with pianist Michel Camilo and his trio. In 1996 he toured with pianist Cesar Camargo Mariano, and joined the quart et, Oregon, featuring Ralph Towner.
His recordings include a co-production with guitarist David Onderdonk entitled Loose Contact ; a children’s educational CD Rhythm Band Instruments; and three CDs: Rhythm of the Americas, Chameleon Drums Volumes 1 and 2.
He is an Associate Professor at Berklee College of Music in Boston and has also served on the faculty of Drummers Collective in New York.
Da r i o s k e n a z i E
達里奧．埃斯克納齊
鋼琴 Piano
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》。
Dario Eskenazi was born in Buenos Aires and graduated 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, Dave Valentin, Herbie Mann, Gato Barbieri, Hendrik Meurkens, Romero Lubambo, Jane Burnett, Jon Lucien, Lisa Ono, Rosa Passos, Diann e Schurr and Leny Andrade.
He has also performed in many of the major jazz festivals in the US and Europe including the Montreaux, North Sea, Nice and Montreal Festivals. Eskenazi has an extensive discography which includes playing on The Gathering with the Caribbean Jazz Project (2003 Grammy for Best Latin Jazz), and with Paquito D’Rivera on Live at the Blue Note (2001 Grammy for Best Latin Jazz), Tropicana Nights (2000 Latin Grammy) and Portraits of Cuba (1997 Grammy).
As an arranger and producer his discs include Muchacha Viento, Olga Román 2 and Luna De Varadero
紐約之聲
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。
© Jack
Guy
New York Voices
New York Voices (NYV) is the Grammy Award winning vocal ensemble renowned for their excellence in jazz and the art of group singing. Their interests are rooted in jazz, but often Brazilian, R&B, classical and pop influences are included with equal creativity and authenticity.
The group was formed in 1987 by Darmon Meader, Peter Eldridge, Kim Nazarian, Caprice Fox and Sara Krieger. Meader, Eldridge, Nazarian and Fox attended Ithaca College in New York and were part of an invitational alumni group formed to tour the European Jazz Festivals in the summer of 1986. As a result of this exciting experience, the idea of forming a professional group was born. In 1989 they released their self titled debut album, New York Voices . The group received rave notices and quickly achieved domestic and international recognition in the jazz world.
In 1992, Sara Krieger retired from the Voices, and after auditioning over 60 vocalists from all 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 and live performances that have earned them critical acclaim and kept them in demand in a variety of musical settings. They have performed on such CDs as the Grammy award winning collaboration, Count Basie Orchestra with New York Voices; the contemporary classical 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 of performing 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 in the field of education, giving workshops and clinics to high school and college music students. The group hopes to continue to explore all styles of music, and expand their audience for years to come.
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 of Ithaca College, Kim Nazarian is a founding member of the New York Voices, formed in 1987. She has recorded numerous CD’s and toured the world with this outstanding vocal quartet.
Additionally she is a featured artist on a number of CDs including Afternoon in Rio with Joe Negri, The 21st Century Swing Band and the highly acclaimed A Nancy Wilson Christmas . She has performed and recorded with the Boston based band El Eco and is 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 covering her critically acclaimed approach to vocal technique and musical sensibilities 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, Meader is considered one of the premier vocalists, arrangers and saxophonists in jazz today. He has achieved rapid international recognition as the founder, musical director, chief arranger, composer, producer, saxophonist and vocalist with New York Voices.
In addition to his continuing New York Voices touring and recording commitments, Meader is increasingly busy as a sideman, university clinician and studio musician.
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, Peter Eldridge 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 are both universal and personal” (Allmusic.com) and the melancholy, yet swinging, Stranger in Town, bringing together jazz luminaries Michael Brecker, Claudio Roditi, Lewis Nash and Romero Lubambo. He is part of the jazz voice faculty at the Manhattan School of Music and travels widely conducting master classes and workshops, and one of his many talented students is Jane Monheit. His future activities include projects with Ivan Lins, Bobby McFerrin and 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, and has been a member of the New York Voices for over a decade. In 1997 the Song Writer’s Hall of Fame and SESAC awarded Kinhan the 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 Record of the Year. In 1999 she recorded her debut solo project, Hardly Blinking, an eclectic set of original songs, produced by three musical powerhouses Phil Ramone, Frank Filipetti and Rob Mounsey. Her focus on songwriting has recently meant she was involved in the grass roots development of Bobby McFerrin’s choral project; a collection of his original songs set for multiple voices.