MOMO的音乐

从70年代中期到80年代早期，他参与了一些商业制作项目，自那时候起，一些观察者不定期地贸然将Ernie Watts 描述成一位流行或R&B歌手。实际上，Watts的偶像主要是John Coltrane。在晚期作品中，他揭示出自己是一位狂热而技术娴熟的爵士即兴演奏者，他演奏的音乐与众不同，充满温情。进入伯克利音乐学院后，1966年到1968年期间，在搬到洛杉矶之前，他和Buddy Rich的大乐队保持了密切联系。1969年，Watts在Oliver Nelson和Gerald Wilson的大乐队里工作，和 Jean-Luc Ponty录制了专辑，成为NBC公司的签约艺人，不定期地和Tonight Show Band一起演出。70年代和80年代早期，他的唱片是一些流行唱片。（1982年的《烈火战车》销量很好）。1972年，Watts常常和Lee Ritenour 以及Stanley Clarke一起演出，另外还和Cannonball Adderley（他的一个偶像）录制歌曲。然而，在80年代中期，Ernie Watts的作品从爵士乐角度看，往往是很有趣的。这时他加入了理查·海登的爵士西海岸四重奏，开始为 JVC录制正式的四重奏曲子。

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2000年推出《The Sound Of Music In Jazz》專輯，曲目由共同演出Live活動的五位鋼琴演奏者所編寫，各有其特色。 2001年為了紀念音樂生涯30週年，在日本青山的「草月音樂廳」舉行首次的音樂會，邀請到日本著名的大學樂團HI-LIGHT伴奏，以及阿川泰子為首的9名音樂家共襄盛舉。 2002年發行專輯《Jubilation》，3月以東京為出發點，開始進行全國20場宣傳Live活動，另外以音樂製作人的身份活躍著，主導5月「Saikoku爵士音樂節」、7月「小出鄉爵士音樂節」。 2003年滿懷對所有支持者的感謝之音，發行《Grateful》專輯，不但在濱松Jazz Week、名古屋Blue Note等地Live演出，也敲定了全國巡迴演奏之行程。10月在於三鷹藝術文化中心的「星野音樂廳」舉行音樂會，薩克斯風手子息卓也在此初次登台共演。 同年參與宇崎龍童的爵士專輯《哀愁的four beat》之錄製，10月在文京Civic Hall音樂廳舉行演奏會並邀請宇崎龍童參與。 2004年邀請小號手新星Dominick Farinacci 多明尼克一同完成專輯《Rejoice》。 2005年1月獲得日本爵士樂專輯雜誌《Swing Journal》所頒發的第30屆「南里文雄獎」、以表揚其對爵士樂界之貢獻。6月為三重奏更換新成員並以放克爵士風格打造出獲獎紀念專輯《On The Road》，成員包括鋼琴手吉田秀晃、貝斯手古野光昭，同樣獲得絕佳好評。 7月開始進行全國20大點的巡迴演奏，10月在Sesion Suginami音樂廳舉辦獲獎紀念演奏會，從客朋滿座的觀眾席不難看出大隅壽男三重奏之魅力，圓滿落幕。 2006年加每年由東芝主辦的日本音樂盛會《TOSHIBA 2006 Jazzy Style》。 2007年以近藤加彥與大田劍兩位薩克斯風演奏家為核心、再度推出新作《New Deal》。

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(What cause country bluesmen to claim a man and a woman is a dangerous game) Every schoolboy knows 1+1=2 and boys know less that girls do A man forgets what the boy knew, remembers what he's used to 'til you crashed a cacophonous procession of cruel, hard fun, shook my remembering with a blinding glance (What songs do mystic bluesmen sing 'bout memory being more powerful than the real, real thing) Here - There the sun O! the moon the sun the moon and you, only you I see only you. My heart is a swallow swooping down to taunt the arrogant, lovestruck coward who dares approach you disguised as a man (What passions could cosmic bluesmen blame if a man too scared to ask a woman her name) You are the razor rim of some sudden primal chasm best broached boldly (if at all) Well, I will ride the rim bare (if need be) because I seek only you, you and only you. Once I saw the setting sun facing the red, red moon 'cross the big, big sky made small by them looking so hard at each other (so hard) much, much majesty waiting and watching... (waiting and watching) it was Everything and Nothing all at once The sun and the moon O! the impassive sky 1+1=2 like you and me before becoming we. Then that glorious sun was gone... There the moon O! the midnight sky the moon, the desolate sky and the road Only the road and what has passed or is passed by (What tales do wily bluesman weave 'bout a man and a woman when that woman leave) Every schoolboy knows 1+0=1 'cept if you're the one gone like me remembering me without you 1+0=0 A man forgets what the boy knew for true. 'Til you halted an awkward parade of silly grownup games and stone-cold jolly with the devastating presentness of "yes". Jumpstart my sputtering heart I RIDES THE RIM The barest breeze brings you on the wind reminds me of first things: first day of school first crush first slow dance first kiss first time you let me know what it feels like to be you (What madness mekes mocking bluesmen rhyme a man and a woman for another "last time") You remember you told me I said something I didn't say or mean to say that you thought meant something about you and me but it wasn't true that I said it or that you had even heard what I actually did say or really mean to say at all? You and me together, Us going through things and coming out on the other side still together That's what I was saying that you misunderstood, baby. 1+1=3 you, me, and you and me (What folly do sophic bluesmen find when a man think he know a woman mind) Then she: you're the one misunderstood. I was talking about Everything and Nothing, Baby. no you - no me 1+1=1 us+us=us Then he: 1+1=1, Damn! I bet there's not a schoolboy in the whole world knows that. Girls. They born knowing all kinds of stuff a man ain't never even gon' ever learn. Here - There the sun, O! the moon the sun and the moon the sun, the moon, and the big, big sky O! the moon the midnight sky, and the road only the road and what has passed or is passed by. Truly Nothing... and Everything All the tears the pious have wept 'bout a man gone and a woman kept All the wrongs the righteous assail 'bout a tow-timing woman and a man in jail All the songs country bluesmen sing 'bout ever-lovin' love and a one-night fling. 'bout how a woman can take more'n a man can ever bring Oh yes! a man and a woman's a dangerous thing. a train, a banjo, and a chicken wing.

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柯达伊弦乐四重奏团以演奏海顿弦乐四重奏起家，转战舒伯特、德彪西等人作品后终于决心向弦乐四重奏的最高峰发起攀登。在阿班·贝尔格、阿玛迪坞斯、意大利弦乐四重奏团等早有定评的名版面前，柯达伊弦乐四重奏团面临的压力是可想而知的。他们的优点是没有背上任何名利上的包袱，演奏自然流畅，发乎内心，虽然达不到名家前辈们的深度层次，但不乏清新怡人的气息。Naxos的录音和演奏乐团的气质是最合衬的搭配，不夸张渲染的音色和朴实的乐器质感烘托出作品反璞归真的面貌，从这一点上柯达伊弦乐四重奏此版已可在当世立足无忧。

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