Pierre Favre

一位橫垮爵士與前衛(wèi)音樂、民族音樂、古典音樂的巨人，瑞士國寶級音樂家,幫助確立當(dāng)代歐洲爵士樂新方向的重要人物之一。他一共出版過65張專輯之多，在著名的ECM公司出版過10張專輯，是ECM公司標(biāo)志性的人物之一。皮埃爾·法瓦既是一位偉大的鼓手和打擊樂手，又是一位打擊樂器的發(fā)明家，同時(shí)也是杰出的作曲家和樂團(tuán)領(lǐng)導(dǎo)者。他不單是爵士樂的集大成者，也善于在前衛(wèi)音樂領(lǐng)域開拓爵士樂與其他音樂對話的無窮可能性。
出生在瑞士的Locle。通過自學(xué)，他15歲開始玩打擊樂器，17歲時(shí)已經(jīng)成為職業(yè)的鼓手。他和爵士音樂的第一次接觸源于Be-Bop。隨后他開始做一些風(fēng)格比較古典的爵士音樂，如新奧爾良迪克西蘭。60年代結(jié)束前，為了拓展現(xiàn)代音樂的可能性，Pierre Favre開始重新自己制造、改良加工屬于他自己的打擊樂器。Pierre Favre被譽(yù)為“鼓的詩人” ，他的現(xiàn)場表演被譽(yù)為“運(yùn)動(dòng)之詩”
by Chris Kelsey
Like his contemporaries, saxophonist Steve Lacy and trombonist Roswell Rudd, Swiss drummer Pierre Favre played Dixieland before embarking on a career in free jazz. Favre was self-taught on drums. He began working professionally at 17; he played with touring American musicians like Lil Hardin Armstrong and Albert Nicholas in the mid-'50s. In the '60s, Favre played with such bop musicians as Bud Powell, Benny Bailey, and Booker Ervin. He also worked in Switzerland for Paiste & Sohn, the cymbal- and gong-making company. In the mid-'60s, Favre developed an interest in free jazz, forming a trio with pianist Irene Schweizer and bassist George Mraz (who was eventually supplanted by Peter Kowald). Saxophonist Evan Parker joined the band in 1968, making it a quartet. In the late '60s, Favre played with saxophonist Peter Brotzmann, drummer John Stevens, and trumpeter Manfred Schoof, among others of note; he also began collaborating with modern classical musicians and avant-gardists from other disciplines. He recorded a solo album, Mountain Wind, in 1978, and began leading an all-percussion group that included Nana Vasconcelos and Paul Motian. Favre has recorded extensively for the ECM label in the '80s and '90s, with artists including vocalist Tamia, classical composer Arvo Part, saxophonist/composer John Surman, and bandoneonist Dino Saluzzi. He began the 21st century with Punctus (2001), Crisscrossing (2004), and Fleuve (2007).