Paquito d'Rivera

帕奎多德里維拉(Paquito D’rivera)這位來自古巴、享譽(yù)全球的吹管巨匠正和他多年的合作搭擋卡洛斯弗朗契帝追溯前輩腳步并改寫過去輝煌的歷史。 帕奎多是首波古巴音樂家進(jìn)軍美國斬獲成功的民族英雄，其繃張的熱情、飽滿的中氣和突顯變異吹奏方式，讓他成為走在時(shí)代尖端的絕佳武器。 1989年加盟Chesky之后，重新對拉丁美洲傳統(tǒng)波烈露舞曲（Bolero）、華爾滋、曼波（Mambo）與Bossa Nova節(jié)奏的探求，并與咆哮樂派的自由即興特質(zhì)相互混合，成為一種兼具旋律與節(jié)奏美感的拉丁爵士。『弟哥、弟哥』（“Tico! Tico!” JD34）、『哈瓦那咖啡屋』（“Havana Cafe” JD80）兩張專輯，企鵝爵士評鑒均給予三顆星高度評價(jià)，1997年充滿懷舊色彩的專輯『古巴素描』（“Portraits Of Cuba” JD145）以優(yōu)異的團(tuán)隊(duì)演奏默契與編曲，贏得葛萊美獎(jiǎng)『最佳拉丁爵士演奏獎(jiǎng)』，是第三世界爵士潮流中最著名且最重要的領(lǐng)導(dǎo)人。
by Craig Harris
Cuba-born and New York-based saxophonist and clarinet player, Paquito DRivera has balanced a career in Latin jazz with commissions as a classical composer and appearances with symphony orchestras. Classical New Jersey wrote, whether playing Bach or post-bop, DRiveras mastery of the instruments and their expressive capabilities is unquestionable. DRivera inherited his understanding of music from his father, Tito, a classical saxophonist and conductor. At the age of five, DRivera began being tutored in musical theory by his father. Within a year, he was playing well enough to be paid as a musician. By the age of seven, he became the youngest musician to endorse a musical instrument (Selmer saxophones). Three years later, he performed with the National Theater Orchestra of Havana. Although he initially played soprano saxophone, DRivera switched to the alto after teaching himself to play via the book, Jimmy Dorsey Saxophone Method: A School of Rhythmic Saxophone Playing. Strengthening his knowledge of music and playing techniques, DRivera began studying at the Havana Conservatory of Music in 1960. In 1965, DRivera became a featured soloist with the Cuban National Symphony Orchestra. After playing the Cuban Army Band, DRivera joined with pianist Chu Chu Valdez to found the Orchestra Cubana de Musica Moderna. DRivera served as the bands conductor for two years. In 1973, DRivera joined with eight members of the Orchestra Cubana de Musica Moderna to form a band, Irakere. The group, which fused jazz, rock, classical and traditional Cuban music, became the first post-Castro Cuban group to sign with an American record label. Together with the band, DRivera toured throughout the world and became a top-rated jazz ensemble. In 1979, the group joined with American jazz and rock performers for a music festival, Havana Jam, that was recorded and released the following year. In 1981, DRivera defected from Cuba and moved to the United States. Before long, he was playing with such American musicians as Dizzy Gillespie, David Amram and Mario Bauza. According to Bauza, DRivera is the only musician I know on the scene playing the real Latin jazz, all others are playing Afro-Cuban jazz. DRiveras debut solo album, Paquito Blowin, released in June 1981, was followed by Mariel, a year later. Time magazine wrote, the bopped-up, romantic, salty and sensuous jazz that he makes recognizes no real political boundary. It has roots equally in the hothouse Latin rhythms of his homeland and in the high flying horns of Charlie Parker, John Coltrane and Lee Konitz. In 1988, DRivera was invited to become a charter member of Gillespies fifteen-piece all-star group, the United Nations Orchestra. The same year, he was a guest soloist with the National Symphony Orchestra for their world premier performance of Roger Kellaways David Street Blues at the John F. Kennedy Center. DRivera continued to be involved with a variety of projects. In addition to performing with the Paquito DRivera Big Band, the Paquito DRivera Quintet, a chamber music group, Triangulo, and a calypso and salsa band, the Caribbean Jazz Project, he began to accept commissions to compose for chamber groups and orchestras. In 1989, he composed New York Suite for the Gerald Danovich Saxophone Quartet. Five years later, he composed Aires Tropicales for the Aspen Wind Quintet. The piece has subsequently been performed by at least four quintets.
In 1997, DRiveras album, Portraits of Cuba, received a Grammy award as Best Latin Jazz Performance. During the summer of 1999, DRivera collaborated with Germanys Chamber Orchestra Werneck in a series of programs, DRivera Meets Mozart. DRivera is artist-in-residence for the New Jersey Performing Arts Commission and artistic director in charge of jazz programming for the New Jersey Chamber Music Society. His autobiography, My Saxual Life, is scheduled to be published by the Spanish literary house, Seix Barral, with a novel, En Tus Brazos Morenos, scheduled to follow shortly afterwards. The album Live at the Blue Note appeared in the spring of 2000, and Habanera followed in early 2001. In 2001 DRivera released the Clarinetist, Vol. 1, his first recording to rely exclusively on the strengths of its woodwind namesake. 2002 saw the release of Brazilian Dreams, a live recording featuring the New York Voices and trumpeter Claudio Roditi. It was followed by the swinging Big Band Time in 2003, Music of Both Worlds, a Tribute to Cal Tjader and Riberas in 2004 and the Jazz Chamber Trio in 2005.