Herbie Mann

小簡(jiǎn)介
Herbie Mann 赫爾比·曼( 1930/4/16–2003/7/1)，美國(guó)爵士長(zhǎng)笛演奏家，也是世界音樂(lè)重要的早期實(shí)踐者，在他職業(yè)生涯的早期，他也吹奏薩克斯風(fēng)和單簧管，而Mann是最早專(zhuān)攻爵士長(zhǎng)笛者之一，也可能是上世紀(jì)60年代最杰出的爵士長(zhǎng)笛演奏者。 　　他生于紐約，是將世界各地音樂(lè)元素與爵士結(jié)合的先鋒。在1959年一次州部發(fā)起的慈善旅游之后，他把非洲音樂(lè)元素融入爵士音樂(lè)中，并加入一名康茄舞音樂(lè)演奏者到他的樂(lè)隊(duì)中，同年錄制了長(zhǎng)笛唱片，一張古巴爵士唱片。在1961年，Mann到巴西旅游回美國(guó)后就和巴西的演奏家（包括Antonio Carlos Jobim和吉他手Baden Powell）一起錄制唱片。這張唱片使得bossa nova風(fēng)靡起來(lái)。貫穿他的職業(yè)生涯，有很多唱片都采用了巴西音樂(lè)元素。60年代中期，Mann雇用了年輕的Chick Corea為他的樂(lè)隊(duì)演奏，仍然是拉丁音樂(lè)風(fēng)格。他和Chick Corea合作的作品都編輯進(jìn)拉丁樂(lè)隊(duì)全集中。到了70年代后期80年代早期，Mann在紐約演奏二重奏，專(zhuān)輯Village Gate也被搶購(gòu)一空。 1969年打擊樂(lè)唱片Memphis Underground發(fā)行之后，70年代發(fā)行的一系列的迪斯科風(fēng)格的輕柔爵士唱片引來(lái)純粹爵士主義者的批評(píng)。在這些唱片中與之合作的都是靈魂樂(lè)和爵士樂(lè)領(lǐng)域非常著名的音樂(lè)家，包括歌手Cissy Houston（Whitney Houston的媽媽?zhuān)?，吉他手Duane Allman和Larry Coryell，貝斯手Donald "Duck" Dunn 和 Chuck Rainey，以及鼓手Al Jackson 和 Bernard Purdie。在這段時(shí)期內(nèi)Mann創(chuàng)作了比爵士音樂(lè)多的流行歌曲。一篇1998年的采訪報(bào)道這樣說(shuō)“在最近的25張Herbie Mann的唱片都成為流行榜的榜首，成功的超越他的大多數(shù)爵士同輩?！?　　為長(zhǎng)笛在美國(guó)爵士樂(lè)界創(chuàng)立地位的Herbie Mann，是少數(shù)堅(jiān)持以長(zhǎng)笛作為主奏器樂(lè)的樂(lè)手之一，曾與Clifford Brown、 Phil Woods等多位爵士大師合作過(guò)，演奏風(fēng)格多元，舉凡酷派、咆勃、Bossa Nova甚至放克等樂(lè)風(fēng)都曾是Herbie的演奏主題。
by Scott Yanow
Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s but in the 70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathewss Quintet (1953-54) and then started working and recording as a leader. During 1954-58 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the 1950s who recorded on bass clarinet; he also recorded in 1957 a full album (for Savoy) of unaccompanied flute.
After spending time playing and writing music for television, in 1959 Mann formed his Afro-Jazz Sextet, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy or Dave Pike) and the leaders flute. He toured Africa (1960) and Brazil (1961), had a hit with Comin Home Baby and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the 1970s advanced, Mann became much more involved in rock, pop, reggae and even disco. After leaving Atlantic at the end of the 1970s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin and in the 1990s founded the Kokopelli label on which before breaking away in 1996 he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004s posthumusly released Beyond Brooklyn for Telarc.