Sing Me A Song Of Songmy (A Fantasy For Electromagnetic Tape) (豆瓣)

听相似歌曲

表演者: Freddie Hubbard
流派: 爵士
专辑类型: 专辑
介质: CD
发行时间: 2003
出版者: Rhino records
唱片数: 1
条形码: 0081227366926

豆瓣评分

8.7

55人评价

5星

47.6%
4星

40.5%
3星

11.9%
2星

0.0%
1星

0.0%

想听在听听过

评价:

简介 · · · · · ·

　　Freddie Hubbard - trumpet, flugelhorn (#1, 3, 4, 7), recitation (6)
　　Junior Cook - tenor saxophone (1-4, 7)
　　Kenny Barron - piano (1-4, 7)
　　Art Booth - bass (1, 3, 4, 7)
　　Louis Hayes - drums (1, 3, 4, 7)
　　Ilhan Mimaroglu - synthesizer, processed sound
　　Arif Mardin - organ, conductor
　　Barnard-Columbia Chorus directed by Daniel Paget
　　Str... (展开全部) 　　Freddie Hubbard - trumpet, flugelhorn (#1, 3, 4, 7), recitation (6)
　　Junior Cook - tenor saxophone (1-4, 7)
　　Kenny Barron - piano (1-4, 7)
　　Art Booth - bass (1, 3, 4, 7)
　　Louis Hayes - drums (1, 3, 4, 7)
　　Ilhan Mimaroglu - synthesizer, processed sound
　　Arif Mardin - organ, conductor
　　Barnard-Columbia Chorus directed by Daniel Paget
　　Strings directed by Gene Orlo and Selwart Clarke
　　Mary Ann Hoxworth (1, 3), Nha-Khe (3, 8), Charles Grau (3), Gungor Bozkurt (3, 10) - recitation
　　https://cageian.wordpress.com/2013/02/15/ilhan-mimaroglu-freddie-hubbards-sing-me-a-song-of-songmy/（以下由Deepl翻译）
　　《为我唱支歌》中的 "宋美 "无疑是指 "宋美"，它是南越的一个村庄，也是美国军队在1968年美国越南战役的动荡事件中大规模杀害、强奸和残害约400名手无寸铁的平民的地点。这一事件在美国引起了愤怒，也是美国反战情绪高涨的推动因素之一，可以说是美国在70年代后期付出的战争代价。
　　正如afro所提到的，Mimaroğlu的专辑可以与当时流行音乐和爵士音乐中出现的大量类似的反战作品相提并论，而且可以与当时以 "非洲 "为重点的音乐文化相提并论，当时Archie Shepp、Melvin van Peebles和Gil Scott-Heron等人真正将非洲人带回了非洲-美国。这张唱片采取了蒙太奇的形式，以一种几乎是月亮的黑暗面的方式把它的碎片拼凑起来。
　　专辑开篇的《莎朗-塔特的哀歌》，看到合成器的音调、不和谐的弦乐安排和其他处理过的声音，在一个上升的高潮中，关于死亡、音乐和爱情的奇怪朗诵--被派去谋杀无辜越南人的年轻士兵脑中的声音。"我觉得我可以拿着吉他，我知道我可以拿着知道，我想我可以杀人......" 这很快就进入了《我所知道的战斗》，这首曲子开始是由哈伯德和他的五重奏演奏的相对直接的后波普、钢琴主导的漫游，然后逐渐引入了米马罗格卢自己的太空合成器工作，最终失去了漫游的气氛，稀里糊涂地沿着从灵魂到爵士到不和谐的先锋派的路线漂移，重新引入土耳其诗人法兹尔-胡斯努-达格拉卡的朗诵（"这是战斗，做任何你想要的，燃烧我的天空。但不要烧掉我的奖品牛"）。这种带有诗意的反战朗诵的恐怖电影不和谐气氛一直持续到《人群》，这是一个由哈伯德的五重奏以及前面提到的弦乐队和巴纳德-哥伦比亚合唱团提供的音乐蒙太奇，像爵士乐自己的Lumpy Gravy一样变得越来越不正常。
　　这张专辑的亮点可以说是由两首较短的作品组成的对联 - Monodrama和Black Soldier - 为这张唱片的第二面开场。Mimaroğlu创造了一个反转喇叭和合成器的处理气氛，而Hubbard在疯狂中即兴演奏了一个混响的号角。这很好地过渡到斯特拉文斯基式的弦乐安排，被Mimaroğlu的制作所扭曲，让Hubbard自己背诵另一个Dağlarca的段落，被翻译成非洲裔的语境。
　　"你，黑人。美国军队，一等兵。为了自由，你射杀了自己的自由。你的身体被钉在钢铁十字架上"。
　　这张专辑似乎有点被错误地推销为合作，首先是哈伯德，其次是Mimaroğlu，但它恰恰相反。正如当时流行的那样，这是一张由制作人制作的专辑，而哈伯德和他的五重奏只是作为明星嘉宾。这张专辑似乎很失败，被看作是哈伯德作为20世纪爵士乐伟大声音的深情生涯中的一个小注脚，也是那个时代许多大公司的奇葩之一。有时它可能看起来很奇怪，有时它可能听起来完全令人叹为观止，无论如何，这张专辑确实值得一听，而且在许多方面是失落的经典，是那个时代的遗物，当时 "大预算的大牌前卫 "仍然是可能的，而有创造力的音乐家有时会得到全权委托，成为这样的人。
　　The “Songmy” in Sing Me a Song of Songmy, undoubtedly must refer to “Son My”, a village in South Vietnam and the location of the mass murder, rape and mutilation of some 400 unarmed civilians by the US Army during the tumultuous events of the US’ Vietnam campaign in 1968. The event caused outrage in the States, and was one of the driving factors in the burgeoning anti-war sentiment in the nation that arguably cost the US the war later in the 70s.
　　As afroementioned, Mimaroğlu’s album can take rank with the multitude of similar anti-war compositions coming out of both popular and jazz music at the time, and furthermore sit comfortably alongside the “Afro” focused music culture of the day, when the likes of Archie Shepp, Melvin van Peebles and Gil Scott-Heron really put the African back into African-American. The record takes the form of a montage, patch-working its pieces together in an almost Dark Side of the Moon fashion.
　　Album opener, Threnody for Sharon Tate, sees synthesizer tones, dissonant string arrangements and other processed sounds bed a rising crescendo of strange recitations about death, music and love – voices in the heads of the young soldiers sent to murder innocent Vietnamese. “I feel I can hold a guitar, I know I can hold a know, I think I can kill…” This quickly segues into This Combat I Know, a track that starts as a relatively straight-forward post-bop, piano-led romp by Hubbard & his Quintet, before gradually introducing Mimaroğlu’s own spacey synthesizer work, and ultimately losing its romp atmosphere and drifting along sparsely morphing from soulful to jazz to dissonant avant-garde, reintroducing recitations by Turkish poet, Fazıl Hüsnü Dağlarca (“This is combat, do whatever you want, burn my sky…but don’t burn my prize cows”). This atmosphere of horro-movie dissonance with poetic anti-war recitation continues into The Crowd, a musique conréte montage littered with moments courtesy of Hubbard’s quintet as well as the aforementioned string orchestra and the Barnard-Columbia Chorus, becoming increasingly unhinged like Jazz’s own Lumpy Gravy.
　　The album’s highlight is arguably the couplet of two shorter pieces – Monodrama and Black Soldier – that open the LP’s second side. Mimaroğlu creates a processed atmosphere of reversed horn and synthesizers, while Hubbard improvises a reverbed bugle call over the madness. This segues nicely into Stravinsky-esque string arrangements, twisted by Mimaroğlu’s production, harkening Hubbard himself to recite another Dağlarca passage, translated into an African-American context.
　　“You, black man. US Army, private first class. For freedom you shoot down your own freedom. Your body lies crucified on a steel cross.”
　　This album it seems, was somewhat falsely marketed as a collaboration, with Hubbard first and Mimaroğlu second, but it’s quite the opposite. As was in vogue at the time, it’s an album by a producer, with Hubbard & his quintet merely as star guests. The album, it seems, was a flop, and is seen as a minor footnote in Hubbard’s beloved career as a great voice in 20th century jazz, and one of the many big label oddities from the era. At times it may seem flat-out weird, and at others it may sound utterly breathtaking, either way the album truly deserves a second hearing, and is in many ways a lost classic and a relic from a time when “big-budget major label avant-garde” was still possible, and inventive musicians were, on occasion, given carte blanche to be just that.