bio

He was born in 1943 in New Orleans, the heartland of Jazz. Growing up in a city vibrating with Gospel and Dixieland he lived music in all its forms and played music from his childhood in his church. Noah first learned to play the trumpet and later moving on to alto, tenor and soprano saxophone. Noah’s music evolved as he worked with different people in different places, working with Dewey Johnson in Los Angeles and later on in San Francisco, and playing with Sun Ra after moving to New York. As an innovator influenced by John Coltrane and Albert Ayler he became a driver of the early Free Jazz movement and quickly developed into one of the world’s most celebrated alt saxophonists. 他于1943年出生于爵士乐的中心地带新奥尔良。在一个充满福音和迪克西兰的城市长大，他以各种形式生活音乐，并在教堂里演奏童年的音乐。诺亚首先学会了吹小号，后来转向中音、男高音和女高音萨克斯管。诺亚的音乐随着他在不同地方与不同的人合作而发展，在洛杉矶与杜威约翰逊合作，后来在旧金山合作，并在搬到纽约后与Sun Ra一起演奏。作为受John Coltrane和Albert Ayler影响的创新者，他成为早期自由爵士乐运动的推动者，并迅速发展成为世界上最着名的另类萨克斯手之一。

On New Orleans: “Growing up in New Orleans was like receiving a steady diet of music, and my taste in music became increasingly more sophisticated. In the neighborhood where I grew up kids around me were listening to Rhythm and Blues and Jazz; Rock came only much later. One of the great moments of my life was when I was around 13 years old and heard Duke Ellington with Paul Gonsalves playing a twenty-some minutes chorus solo on tenor sax at Newport. We had never heard anything like this before; a saxophone player doing so many choruses, this was years before Coltrane opened up. That experience meant there was no turning back; my ears were open and my desire was burning for music.” –Howard, N., Music in my Soul (2010) 关于新奥尔良：“在新奥尔良长大就像接受了稳定的音乐饮食，我对音乐的品味变得越来越复杂。在我长大的社区里，我周围的孩子都在听节奏、布鲁斯和爵士乐;洛克来得很晚。我生命中最伟大的时刻之一是当我大约 13 岁时，听到艾灵顿公爵和保罗·贡萨尔维斯在纽波特用次中音萨克斯独奏二十多分钟的合唱独奏。我们以前从未听说过这样的事情;一个萨克斯管演奏家做了这么多合唱，这是在Coltrane开放之前的几年。这种经历意味着没有回头路;我的耳朵是开放的，我对音乐的渴望正在燃烧“——霍华德，N.，我灵魂中的音乐（2010）

He recorded his first LP“Noah Howard Quartet”as a leader in 1965 and his second LP“Noah Howard at Judson Hall”in 1966 both for the groundbreaking ESP Records label. In 1969 he appeared on Frank Wright’s album“One For John” and on“Black Gipsy”with Archie Shepp. His third record, which he lead, working with Arthur Doyle was the internationally acclaimed“Black Ark”. With this, Noah entered the Jazz hall of fame as one of the most brilliant and innovative Free Jazz musicians. 他于1965年录制了他的第一张LP“Noah Howard Quartet”作为领导者，并于1966年为开创性的ESP唱片公司录制了他的第二张LP“Noah Howard at Judson Hall”。1969年，他出现在弗兰克·赖特的专辑“One For John”和与Archie Shepp的“Black Gipsy”中。他与亚瑟·道尔合作的第三张唱片是享誉国际的《黑方舟》。就这样，诺亚进入了爵士名人堂，成为最杰出和创新的自由爵士音乐家之一。

In 1971 he created his own record label AltSax and published most of his music under that label. In the same year he recordedPatternsin the Netherlands with Misha Mengelberg and Han Bennink.Having honed his style and explored many eclectic sounds, he became disenchanted by the lack of appreciation for musical avant-garde in the USA. He moved on to Europe and Africa, moving to Paris in 1972, Nairobi in 1982 and finally Brussels in late 1982, where he had a studio and ran a jazz club. 1971年，他创建了自己的唱片公司AltSax，并以该唱片公司出版了他的大部分音乐。同年，他与Misha Mengelberg和Han Bennink在荷兰录制了Patterns。在磨练了自己的风格并探索了许多不拘一格的声音之后，他对美国缺乏对音乐前卫的欣赏感到失望。他移居欧洲和非洲，1972年搬到巴黎，1982年搬到内罗毕，最后在1982年底搬到布鲁塞尔，在那里他有一个工作室并经营着一家爵士俱乐部。

On Africa: “ It was a Sunday morning with bright blue skies and I reached down and grabbed a handful of earth, holding it in my hands. It was red earth. As the first of my family to make this voyage back to my community, I was filled with emotion and started to cry – thinking about all those before me who didn’t survive the middle passage and slave trade. I thanked the few strong survivors of which I’m a descendant and was grateful to be a live and to make it back to Africa in my lifetime. The feeling of coming back home, after generations had gone through abuse and suffering, was upon me. I would put some of this into music later on when recording with James Emmanuel, the poet on “Middle Passage” (2001). –Howard, N., Music in my Soul (2010) 关于非洲：“那是一个星期天的早晨，天空湛蓝，我伸手抓了一把泥土，握在手里。那是红土。作为我家里第一个回到我社区的人，我充满了情感并开始哭泣 - 想到我之前所有没有在中间通道和奴隶贸易中幸存下来的人。我感谢少数坚强的幸存者，我是他们的后代，并感谢能活着，并在有生之年回到非洲。在经历了几代人的虐待和痛苦之后，回到家的感觉正在我身上。后来，当我与诗人詹姆斯·伊曼纽尔（James Emmanuel）一起录制“中间通道”（2001）时，我会把其中的一些内容放进音乐中。——霍华德，N.，音乐在我的灵魂 （2010）

He recorded steadily through the 1970s and 1980s, mostly with AltSax and continued to expand his repertoire, exploring funk and world music in the latter decade. In the 1990s Noah returned to his free jazz origins, infusing the many new influences and genres he had come across throughout the years into his inceptive passion. He released new music on various labels, notably Cadence Jazz, and experienced a resurgence of critical acclaim, in particular for his 2003 album Dreamtime. 他在 1970 年代和 1980 年代稳定录制，主要是使用 AltSax，并在后十年继续扩展他的曲目，探索放克和世界音乐。在1990年代，诺亚回到了他的自由爵士乐起源，将他多年来遇到的许多新影响和流派注入到他的洞察力激情中。他在各种唱片公司发行了新音乐，特别是Cadence Jazz，并经历了评论界的重新赞誉，特别是他2003年的专辑Dreamtime。

Noah recorded 35 records, their sounds range from the sensitive, instinctive sound of Eye of the Improvisor (2007)to Desert Harmony, featuring Omar al Faqir (2007), which he described as “a representation of the magnificent brotherhood of musicians in our world.” 诺亚录制了35张唱片，它们的声音范围从《即兴之眼》（2007年）的敏感，本能的声音到奥马尔·法基尔（Omar al Faqir，2007年）的沙漠和谐，他将其描述为“我们世界上音乐家的伟大兄弟情谊的代表”。

Noah Howard’s joy of life and insatiable curiosity was the driving force for his travels and collection of music, but also what made his sound so rich and remarkable. He gave concerts and worked with poets, visual artists, composers and musicians in places as diverse as India, the Arab world, Africa and Europe. This characteristic open-mindedness let Noah constantly re-innovate his style by embracing the cornucopia of the world’s cultures, people and music. 诺亚·霍华德（Noah Howard）对生活的乐趣和永不满足的好奇心是他旅行和音乐收藏的动力，也是使他的声音如此丰富和非凡的原因。他在印度、阿拉伯世界、非洲和欧洲等不同的地方举办音乐会并与诗人、视觉艺术家、作曲家和音乐家合作。这种特有的开放心态让诺亚不断重新创新自己的风格，拥抱世界文化、人民和音乐的聚宝盆。

The last product of this existential experience was the truly diverseVoyage(2010). It creates a unique sound universe – Voyage Jazz, a beautiful interplay of World Music and Free Jazz, driven by a never-ending passion for innovation and love for the world’s music and its people, a true testament not only to Noah Howard’s musical journey, but his life’s achievements. 这种存在主义体验的最后一个产物是真正多样化的航行（2010）。它创造了一个独特的声音世界 - Voyage Jazz，世界音乐和自由爵士乐的美丽相互作用，由对创新的永无止境的热情和对世界音乐及其人民的热爱所驱动，这不仅是诺亚霍华德音乐之旅的真实证明，也是他一生成就的真实证明。

Noah Howard unexpectedly passed away September 3rd, 2010 while vacationing in Southern France. Just one day before finishing the first draft of his autobiography. 诺亚·霍华德于2010年9月3日在法国南部度假时意外去世。就在完成自传初稿的前一天。

“I developed my sound and technique through constant practice and rehearsals with different formations. Very rarely has a day passed without practice in my life and I’ve worked this way throughout the years. I have always experienced that the best way for me to compose is to play with a full orchestral sound backing me up and to improvise within the structure I compose. This creates a tension fabric that makes the composition come alive. Because it is not enough for the piece to just be played, it must live and be alive, breathing and vibrating like a new born child, full of energy and creativity.” “我通过不断练习和排练不同阵型来发展我的声音和技术。在我的生活中，很少有一天没有练习，这些年来我一直以这种方式工作。我一直认为，对我来说，最好的作曲方式是用完整的管弦乐声音支持我，并在我创作的结构中即兴创作。这创造了一种张力织物，使组合物变得生动起来。因为仅仅演奏这首曲子是不够的，它必须活着，活着，像新生的孩子一样呼吸和振动，充满活力和创造力。