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redhousepainter 发表于02/07/2017, 归类于乐评.

悼David Axelrod

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文/redhousepainter

早晨醒来,得知david axelrod的死讯,终年83岁。2017年刚过一个多月,jaki liebezeit 和david axelrod便先后离世,可见死神一如去年不留情面。这两年影迷时常感慨:雷公,挺住!全世界还等着普罗米修斯三部曲!其实音乐这边的jon hassell和雷公同为1937年生,都已是80岁,已至耄耋之年。老胡今早把多年前我的纯灌水博文当做公众号推送(标题极为耸动),我只好怀着些许羞耻之情补充几句。

2001年,david axelrod在mo wax协力下出版同名新专辑,到伦敦宣发时遇见royal festival hall的创意行政官glenn max,glen邀约老人家举行一次专场演出,这一等,便是三年。2004年3月17日晚,在美国在洛杉矶土生土长的david axelrod终于在英国在伦敦在royal festival hall迎来人生第一次作品演奏会,音乐圈视之为天意,因为老人家的两张经典之作《songs of Experience》,《song of innocence》皆取名自william blake 的同名诗集,这不是一次异国演出,而是重回娘家。演出当晚,一头白发的david axelrod实则抱病上台指挥,但精神奕奕。2008年,此次演出发行dvd,这仅是一份极不合格的影像记录,音轨方面没有5.1声道更没有dts音轨;视频方面既不像是用数字高清摄影机拍摄,也不像是用模拟胶片拍摄,画质之模糊想来当晚可能只是用电视台级别的betacam带草草了事,日后蓝光升级也多半无望。

我们这一代人熟知david axelrod也许源自dj shadow的【midnight in a perfect world】,也许源自dr.dre的【the next episode】,也许源自本人和unkle的合作,也许。。。。。。仿佛老人家在后半生幸而迎来第二春,其实老人家在音乐圈内一直鼎鼎大名。1968年,唱片业大佬clive davis(不熟悉唱片业的朋友自行脑补一下扎克伯格等人之于it业)开出一年十万刀的底薪,力邀david担任哥伦比亚唱片公司a&r部副总裁,david以音乐家自居一口回绝。david另有两位挚友,一位名叫quincy jones(呵呵),另一位名叫frank zappa(呵呵呵),老迈凭借《bitches brew》风头一时无两之际,两位挚友劝诫david:该争名夺利就去争名夺利,该上大杂志就去上,老迈能被誉为创造了引领了爵士融合,尼玛应该有你的份啊!david几十年后和小字辈记者聊起这段往事,倒也云淡风轻:当年老迈听过《song of innocence》,让cannonball adderley转告我一声,他也很中意。

david axelrod这一代音乐家(是家而不是人)被采访时经常直言不讳,搞得记者一脸懵逼:这话真能登?david反问:是我吐槽的那个傻逼付你薪水?有次记者和david闲聊:

六十年代不少制作人和编曲人习惯性把一首歌的每个空间都填满,你倒是喜欢给乐器留有空间。

嗯,那是受了gil evans的影响,那张《out of the cool》让我大吃一惊,也改变了所有人。

嗯。。。嗯。。。我的意思是。。。你的这种风格不是对。。。比如说。。。对phil spector的回应?

我从来不关注他,从来不听他制作的专辑,对wall of sound一点兴趣都没有。spector只是预定好录音室,其实是jac nitzsche负责编曲。

你的意思是。。。wall of sound这署名权也该给编曲人记上一份?

我一直以为gold star录音室里的那些工程师,比如larry levine,理应有一半的署名权

。。。。。。。

关于david axelrod的评论和专访,数以万计,我觉得最妥帖兼最深情的一段话来自2006年的《wax poetics》,不妨原文再次抄上:

the glory days of the super-producer are far from over; it’s just that the landscape has drastically shifted into a postmodern apocalypse,metphorically similar to the cover painting of earth shot. is timbaland the closet we have to a norman whitifield? Is kanye west the new breed of arranger?sure, some old-school producers like arif mardin are still able to make an imapct-with a little help from norah jones. but where are the new, eccentic jazz producers who will leave their mark on several labels through decades of work? where is the next creed taylor, joel dorn, bob shad,, or bob thiele (the list goes on)? Is jazz no longer popular and creative because of the absence of these types of producers-or vice versa?

and, finally, will there ever be david axelrod? a producer who could do it all – compose, write lyrics, arrange, conduct, produce, A&R – and no matter the genre. music has transformed so much since the 1970s that the idea in the heyday of axelord’s career? some things, however, never change. producer/songwrites have always shaped pop and R&B acts – lone before maurice starr’s new kids on the block, the electric prunes were little more than a name when you consider that axelord wrote the music and even stocked his version of the band with ringers. just like norman whitfield’s temptations were different from smokey robsion’s temptations.

这段感言足以当做david axelrod墓碑上的祭文。

以下附上2004年royal festival hall演出的自压dvdrip,以及多年前由乐迷整理的david axelrod采样合集:

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