Kenny Wheeler

Kenny Wheeler曾經(jīng)是英國(guó)自發(fā)藝術(shù)團(tuán)體的骨乾成員，早年演奏的是猛烈恣肆的自由爵士作品，當(dāng)1975年他作為樂(lè)隊(duì)掛頭牌者在ECM錄制專(zhuān)輯時(shí)，大家可以聽(tīng)到他的聲音已經(jīng)柔和平靜了不少。
 
柔號(hào)（Flugehorn），是爵士樂(lè)中一樣獨(dú)特的樂(lè)器，從字面翻譯這一樂(lè)器也可被稱作“翼號(hào)”，柔號(hào)的得名來(lái)自于它的音色，這一樂(lè)器通常被安排在大樂(lè)隊(duì)里演奏柔和舒緩氣氛的片段，聲音相當(dāng)好聽(tīng)，一般樂(lè)隊(duì)中都由小號(hào)手來(lái)兼任柔號(hào)手，Wheeler本來(lái)也正好是小號(hào)手。
 
by Steve Huey
Veteran trumpeter/flügelhornist Kenny Wheeler has long been one of the most advanced voices on his instrument. Blessed with a full, lovely tone and an astounding range, Wheeler sounds equally at home in fiery free jazz explorations or softer, more lyrical post-bop meditations. Wheeler was born in 1930 in St. Catherines (near Toronto), Ontario, and began playing trumpet at age 12. After studying at Torontos Royal Conservatory, he moved to London in 1952, where he gigged with swing and dance bands. He appeared with John Dankworths orchestra at the 1959 Newport Festival and remained with that group until 1965. In 1966, Wheeler discovered free jazz, and, fascinated, joined John Stevens Spontaneous Music Ensemble for the next four years. In addition, he played jazz-rock fusion with the Mike Gibbs Orchestra from 1969-1975, and joined Tony Oxleys sextet (along with free jazz giants like Derek Bailey and Evan Parker) from 1969-1972. Through the latter, Wheeler was invited to join German pianist Alexander von Schlippenbachs groundbreaking free jazz big band the Globe Unity Orchestra in 1970, an association Wheeler maintained for years to come. During the first half of the 70s, Wheeler played with Anthony Braxton, which became his primary focus. In 1975, he signed with the ECM label and recorded the well-received Gnu High, which established him as a solo artist of note; the following year, he left Braxton and joined the trio Azimuth. Wheeler turned out a series of excellent ECM albums, including 1977s Deer Wan and 1983s Double, Double You (that year, Wheeler also began a four-year run with the Dave Holland Quintet). Several more generally fine outings followed in the 90s, including the ECM dates Music for Large and Small Ensembles and The Widow in the Window (both recorded in 1990), plus other recordings for Justin Time and Soul Note later in the decade.