kwanyin 021 艾略特·夏普 – 构造学·北京独奏 elliott sharp – tectoics, solo beijing


cdr; paper sleeve; 2007

艾略特·夏普是活跃近30年的前卫作曲家、吉他手、即兴乐手,他是纽约下城场景的创造者和核心人物之一。2006年和2007年,他两次来到中国,和本地乐手一起演出,并交由观音唱片发行这张独奏专辑。他的风格深奥、缜密,强调声音结构,似有科学之美。

as one of the most important names of New York avant-garde scene, Elliott Sharp created a mathematical compose style beside of his famous impro talent. he visited Beijing in 2006 and 2007, played with local artist, then made this solo album for KwanYin Records.

设计 design:西西 Xi Xi

曲目:
1, Sixteen X 9’52
2, The Square 8’34
3, Bombyx 12’08
4, Aorta 24’03
5, KrkdSlide 8’23

评论:
擅长多种乐器的 Elliott Sharp 是一位活跃的先锋音乐家,像纽约的同行 John Zorn 一样不断寻求变化、经常跨界创作。他的唱片极为庞杂,有布鲁斯,先锋摇滚、弦乐四重奏、电影配乐,Thelonios Monk 式的爵士乐,电子原音等等。
这张唱片是他去年在北京的电吉他独奏现场,乐器的独奏经过了他的‘构造学’电子效果处理,变得更为丰富和强劲。它是Sharp风格的浓缩。在他对吉他声音的实时塑造和编排上,我们可以听到复杂而紧张的节奏,射击出充满吉他的急性,对抗性的热情,
这使得我们想起了那些拓展了吉他表现力的先驱,例如 Fred Frith, Henry Kaiser以及 Hans Reichel 等。当然还不能不提到夏普的早期作品。音乐的灵活地在即兴中游走,但是也有作曲家的实践感与技术的积累。对琴弦的拍打是 Sharp 偏爱的手法,它返回到了对节奏的肯定中,此外,他偶尔还使用鼓机的律动。 另一方面,他对现场的处理,增强了吉他那种金属般的精确度,同时让层次感得到了更精心的安排。Sharp 的音乐风格是变化多端的,可能一时让人无法清晰的定义。但这张唱片可以为你提供一个机会去认识他。
——Julian Cowley(Wire,第285期)

review:
Multi-instrumentalist Elliott Sharp is, like fellow New Yorker John Zorn, a restless musician working with consistent intensity across a range of musical styles and in unpredictable contexts. His vast discography encompasses earthy blues, avant rock, coruscating string quartets, movie soundtracks, interpretations of Thelonios Monk tunes, electroacoustic investigations and much else besides. This set of performances, recorded live in Beijing last year, presents him alone with electric guitar, expanded and enhanced through his ‘Tectonics’ electronic set-up.
It’s quintessentialSharp concentrated,rhythmically taut and intricate, fired up with enthusiasm for the brash, antagonistic sound of the guitar, yet strictly disciplined and subtle in his real-time shaping and arrangement of that sound.Technically and sonically, Tectonics, Solo Beijing recalls at times pioneers of extended guitar vocabulary such as Fred Frith, Henry Kaiser and Hans Reichel, not t o mention Sharp’s own earlyl work. There’s plenty of improvisatory edge and stylistic flexibility in this music, but there’s also a strong sense of the practised composer’s overview and accumulated know-how. Tapping the strings percussively has become a favoured technique in Sharp’s Playing; it returns repeatedly to affirm rhythmic definition, supplemented very occasionally with drum machine grooves. His live processing, on the other hand, swells and diffuses the guitar’s metallic precision into orchestrated sweeps and textured layering. There’s a healthy evasiveness to Sharp’s musical identity, but if you’re looking for somwhere to anchor it, this fine set is as good a place as any.
–Julian Cowley(Wire, issue 285)