Clark Terry

小簡(jiǎn)介
Clark Terry 自學(xué)出身，但在美國海軍樂隊(duì)里磨練出他精湛的小喇叭技藝，退伍后加入Count Basie樂團(tuán)直到1951年，之后在Duke Ellington樂團(tuán)待了八年，然后和Quincy Jones一起到歐洲巡迴演出。50年代末期他在紐約擔(dān)任錄音室樂手，接下來的十幾年，他固定在著名的強(qiáng)尼卡森秀的樂隊(duì)里演奏。70、80年代Clark Terry四處巡迴演奏，合作對(duì)象的范圍從老式搖擺樂到硬式咆勃爵士都沒問題，堪稱是一位全能的爵士樂手。Terry是爵士樂界最具自己獨(dú)特風(fēng)格與原創(chuàng)性的小喇叭手，他在演奏上的發(fā)揮，對(duì)Dizzy Gillespie、Miles Davis都有很大的影響。
Possessor of the happiest sound in jazz, flügelhornist Clark Terry always plays music that is exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, C.T. gained fame for his Mumbles vocals (which started as a satire of the less intelligible ancient blues singers) and is also an enthusiastic educator. He gained early experience playing trumpet in the viable St. Louis jazz scene of the early 40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flügelhorn in the mid-50s, had many features with Ellington (including Perdido) and started leading his own record dates during that era. He visited Europe with Harold Arlens unsuccessful The Free & Easy show of 1959-1960 as part of Quincy Jones Orchestra, and then joined the staff of NBC where he was a regular member of the Tonight Show Orchestra. He recorded regularly in the 1960s including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer. Throughout the 1970s, 80s, and 90s, C.T. remained a major force, recording and performing in a wide variety of settings including at the head of his short-lived big band in the mid-70s, with all-star groups for Pablo, and as a guest artist who can be expected to provide happiness in every note he plays.