Terence Blanchard

美國(guó)爵士樂(lè)小號(hào)手。
Blanchard出生于一九六二年，是跟著所謂“爵士幼獅潮”〈Young Lions〉竄出的年輕爵士新秀，十八歲就被大師Lionel Hampton招攬合作，后更加入了鼓手Art Blakey的“爵士信差”。后來(lái)Blanchard為黑人導(dǎo)演Spike Lee的電影如《黑潮：麥爾坎X》（Malcolm X）和《愛(ài)情至上》（Mo’ Better Blues）等撰寫配樂(lè)并演奏，算是找到了一個(gè)不錯(cuò)的方向。雖說(shuō)是電影配樂(lè)讓Terence Blanchard闖出名堂，但他心中的爵士夢(mèng)未曾稍歇〈其實(shí)他替Spike Lee寫的配樂(lè)幾乎都是爵士樂(lè)〉，到西元二○○三年加入了藍(lán)調(diào)之音，似乎好好玩爵士的夢(mèng)想準(zhǔn)備實(shí)現(xiàn)了。首張專輯 Bounce》 便獲得了相當(dāng)好評(píng)，而全新推出的《流動(dòng)》則更像是一種火力展示，不論在演奏上或創(chuàng)作上都有杰出的表現(xiàn)。

Although he originally rose to prominence in the shadow of Wynton Marsalis, Terence Blanchard was one of the first Young Lions to develop his own sound, mixing in elements of Freddie Hubbard and Marsalis. He studied piano from the age of five and took up trumpet in 1976. Blanchard was with Lionel Hampton during 1980-1982 and then replaced Marsalis with Art Blakeys Jazz Messengers. He found fame while with Blakey during 1982-1986, and then co-led a group with Donald Harrison. After taking time off to work on his embouchure (and returning with a greatly increased range), Blanchard became active writing film scores for Spike Lee. He played in the films Do the Right Thing and Mo Better Blues, and then wrote for Jungle Fever and Malcolm X, launching a lucrative second career. Fortunately, Blanchard has not neglected his own playing and has recorded several superior sets of advanced post-bop music. Included among these are 1993s Simply Stated, 1995s Heart Speaks, his 1999 classic soundtrack-themed Jazz in Film, his 2000 return to all-original post-bop Wandering Moon, 2003s fusion-influenced Bounce, and his 2007 tribute to post-hurricane New Orleans, A Tale of Gods Will (A Requiem for Katrina).