Jimmy Smith 吉米·史密斯
- 风格
- #硬波普 #灵魂爵士
- 地区
- United States of America 美国
艺人介绍
有爵士电风琴界的Charlie Parker之称的Jimmy Smith是电风琴魔法师，能完全掌握其多变音色及宽广的强弱动态，让气氛时而低沉，时而激昂高亢。
爵士乐中没有乐器比Hammond B3电风琴来得更戏剧化了。电风琴多变的音色，宽广的高低音强弱动态，时而阴欎低沉，时而激昂高亢，让人如同前一刻还在喜玛拉雅山顶，下一秒钟变置身热带嘉年华会。而Jimmy Smith就是最佳的魔法师。
自从Jimmy Smith在50年代将电风琴带入爵士乐后，就开启了往后通往Soul Jazz灵魂爵士乐或是Acid Jazz酸爵士的大门，电风琴界的Charlie Parker变可说是Jimmy Smith的最佳写照，热情奔放的Bebop即兴，空荡冷调的Cool Jazz，抑或是精力充沛的Funk，感人肺腑的Soul，Jimmy Smith都能信手拈来，不费吹灰之力。
做为一个中生代的爵士乐手，吉米·史密斯(Jimmy Smith)所处的恰好是摇滚乐从发韧逐步走向辉煌的历史时期，昔日传统的爵士乐却在经历了一次又一次的形式变革之后渐次趋向平和，局部的改良已经很难让挑剔的乐迷们感到满意，于是一次新的融合运动踏上征程，包含有“灵乐”(Soul)和“放克”(Funk)元素的硬波普(Hard Bebop)开始走到舞台前沿，乐曲的结构越来越紧密，节奏的步子越来越快速，如果世上真有灵魂这一说法，那幺在“硬波普”音乐里的灵魂必定是跳得最欢，也最能尽其所兴的。
而史密斯在这个时候干了些什么？他在用音乐把灵魂从约定俗成的枷锁中释放的历史时期又起到了哪些推波助澜的作用呢？如果只能选用一个关键词的话，那幺我必会把“风琴”(Organ)一词铿锵有力的掷出，谁说它只是在教堂唱诗时才能成为主角？谁说它永远只能是跟在小号、萨克斯屁股后面起到些许推波助澜的作用？谁说它不能成为在舞台上主宰音乐走向的主角？且听史密斯用他的双手十指加双脚十指的无限止运动告诉你——一切皆有可能！
by Ron Wynn and Bob Porter
Jimmy Smith ruled the Hammond organ in the 50s and 60s. He revolutionized the instrument, showing it could be creatively used in a jazz context and popularized in the process. His Blue Note sessions from 1956 to 1963 were extremely influential and many, like 1960s Back at the Chicken Shack and 1958 s The Sermon, are classics. Smith turned the organ into almost an ensemble itself. He provided walking bass lines with his feet, left hand chordal accompaniment, solo lines in the right, and a booming, funky presence that punctuated every song, particularly the up-tempo cuts. Smith turned the fusion of R&B, blues, and gospel influences with bebop references and devices into a jubilant, attractive sound that many others immediately absorbed before following in his footsteps. Smith initially learned piano both from his parents and on his own. He attended the Hamilton School of Music in 1948, and Ornstein School of Music in 1949 and 1950 in Philadelphia. Smith began playing the Hammond in 1951, and soon earned a great reputation that followed him to New York, where he debuted at the Café Bohemia. A Birdland date and 1957 Newport Jazz Festival appearance launched Smiths career. His Blue Note recordings included both trio recordings and superb collaborations with Kenny Burrell, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Ike Quebec, and Stanley Turrentine, among others. Smith scored more hit albums on Verve from 1963 to 1972, many of them featuring big bands and using fine arrangements from Oliver Nelson. These included the excellent Walk on the Wild Side and Jimmy & Wes: The Dynamic Duo, a collaboration with guitarist Wes Montgomery. His 70s output was quite spotty, though Smith didnt stop touring, visiting Israel and Europe in 1974 and 1975. He and his wife opened a club in Los Angeles in the mid-70s. Smith resumed touring in the early 80s and continued wowing audiences around the world. He re-signed with Blue Note in 1985, and has done more representative dates for them and Milestone in the 90s. After a five-year layoff, Smith returned in early 2001 with the blues projects Fourmost Return and Dot Com Blues. He remained a fixture in both small jazz clubs and large festivals until his untimely passing in February of 2005.
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