Joshua Redman

喬舒亞-瑞德曼(Joshua Redman)是近十年來最著名的JAZZ藝術(shù)家之一。出生于1969年的伯克利，后波普、新波普爵士音樂家，薩克斯演奏家。他的演奏風(fēng)格復(fù)雜充滿熱情，文雅端莊。在90年代初的一段時(shí)間，他是各類媒體吹捧的對象，而他的實(shí)際才能絲毫不愧對這些吹捧。他是一個(gè)天才的薩克斯演奏家，深受波普樂的影響。他是偉大的薩克斯演奏家德維·萊德曼(Redman,Dewey)之子。 　　
自1991年贏得Thelonious Monk Institute JAZZ SAX比賽以來，他的演出邀請多得接不完，特別是著名的華納音像公司與他簽了約。通過閱讀對他的采訪文章，我們會(huì)發(fā)現(xiàn)Redman是一個(gè)很特別的樂手，美國真是一個(gè)不拘一格出人才的地方，他的成功經(jīng)歷對于在中國探索JAZZ的SAX樂手很有借鑒意義。 　
Redman奇特的地方在于：他只跟老師上過幾堂SAX課，中學(xué)時(shí)期學(xué)的是黑管（學(xué)完8級就停止了），以后全部是自學(xué)成才。中學(xué)畢業(yè)后也不是直接去學(xué)音樂，而是進(jìn)了著名的哈佛大學(xué)學(xué)了四年的社會(huì)學(xué)。在哈佛期間只是參加了兩年的校JAZZ樂隊(duì)，真正開始投入音樂是在大學(xué)畢業(yè)之后。這在中國人的觀念里是一個(gè)典型的業(yè)余愛好者, 但是他卻成為舊金山JAZZ之春的藝術(shù)指導(dǎo)，并登上了SAX雜志的封面。以下是他的談話精華。 　　
Redman的啟蒙老師和母親認(rèn)為一個(gè)人如果想學(xué)習(xí)SAX，最好是先學(xué)黑管。所以Redman先開始學(xué)黑管，盡管他的目標(biāo)是SAX。這或許是他今后不需要上SAX課的原因。他自學(xué)成才的主要手段是聽名家錄音。他說首先要用心靈、身體和靈魂去聽名家的演奏，然后是用分析的方法分段落去聽。要微觀和宏觀相結(jié)合，比如說ii-V7和鉉，你要通過記譜來‘讀’各個(gè)名家是怎樣演繹的，包括音符、節(jié)奏組合、跨越小節(jié)等特征，然后再看他們怎樣將局部組成整體。要想真正理解和了解一個(gè)JAZZ名家的演奏，一定要下到這種功夫。Redman也自己作曲，這是JAZZ音樂家要出CD而必需的。他是一個(gè)追求完美的人，但是JAZZ很難完美，因?yàn)檠葑噙^的東西再也追不回用以修改了。 　
 被洛杉磯時(shí)報(bào)報(bào)盛贊為『新世紀(jì)爵士樂領(lǐng)袖中最具有生命力的爵士樂手』并有『爵士警察』美譽(yù)的色士風(fēng)手Joshua Redman 喬舒亞．瑞德曼2007年最新專輯。Joshua Redman出生于1969-02-01 加州，他的演奏不僅延續(xù)傳統(tǒng)的爵士樂精神，同時(shí)也表達(dá)了最貼切當(dāng)今的音樂潮流。是當(dāng)今十分受到肯定的次中音色士風(fēng)手。除了復(fù)古風(fēng)格，他經(jīng)常加入許多新的元素，讓樂聲不只是一種調(diào)性。他的音樂專輯銷售良好，受到很多樂迷的肯定，同時(shí)許多專業(yè)的樂評也對他非常贊許，他們欣賞Redman的成熟與深刻的表現(xiàn)，如此年輕卻有這樣的實(shí)力確實(shí)不易。
 
by Scott Yanow
Every few years it seems as if the jazz media go out of their way to hype one young artist, overpraising him to such an extent that it is easy to tear him down when the next season arrives. In the early 90s, Joshua Redman briefly became a media darling, but in his case he largely deserved the attention. A talented bop-based tenorman, Redman (who will probably never be an innovator) is a throwback to the styles of Red Holloway and Gene Ammons, but also has an inquisitive spirit and can play intriguing music when inspired.
 
The son of the great tenor saxophonist Dewey Redman, Joshua graduated from Harvard and (after debating about whether to become a doctor) he seemed headed toward studying law at Yale. However, Redman came in first place at the 1991 Thelonious Monk competition, landed a recording contract with Warner Bros., and was soon on the cover of most jazz magazines. Pat Metheny was a guest on one of his albums (the Redman-Metheny interplay during their engagements was quite memorable), and although Redman has had success constantly touring with his own group, it is a pity that his apprenticeship period as a sideman was so brief. In 1996, Joshua Redman recorded and briefly toured with Chick Coreas Tribute to Bud Powell sextet; the solo Timeless Tales (For Changing Times) followed in 1998, and in 2000 he returned with Beyond. Passage of Time appeared in early 2001 and was followed by a lengthy tour of the U.S. The next year, Elastic appeared in stores with an uncharacteristically humorous sight gag adorning the cover. That also reflected on the music, which was more adventurous and playful than in the past, owing a debt to his electronica and experimental rock influences. In 2005, Redman made the move to Nonesuch and released Momentum. Back East followed in 2007.