Richard Galliano

Richard Galliano，1950年12月12日出生于法國(guó)戛納。Piazzolla最后一個(gè)關(guān)門(mén)弟子，這位有著意大利血統(tǒng)的法國(guó)人，被譽(yù)為20世紀(jì)最杰出的手風(fēng)琴家， 其手風(fēng)琴技巧令人炫目，尤其是演奏Piazzolla的名曲“自由探戈”，在后世的無(wú)數(shù)版本中，這是最耀眼令人贊嘆的。
Richard Galliano，這位有著意大利血統(tǒng)的法國(guó)人，被譽(yù)為20世紀(jì)最杰出的手風(fēng)琴家，其手風(fēng)琴技巧令人炫目，尤其是演奏Piazzolla的名曲“自由探戈”，在后世的無(wú)數(shù)版本中，這是最耀眼令人贊嘆的。除了Libertango，如果從未聽(tīng)過(guò)Richard Galliano的音樂(lè)，推薦兩首Vuelvo al sur和New York Tango，前者也是Piazzolla的名曲，連電子組合Gotan Project的演繹都令人印象深刻，自是不用說(shuō)。后者則是Galliano的作品，他融入了即興爵士的手法，豪華的樂(lè)隊(duì)伴奏，是在此之前從未有過(guò)的新探戈的嘗試。
Richard Galliano四歲起就跟隨其父練習(xí)手風(fēng)琴，少年時(shí)代迷戀上了爵士，尤其從小號(hào)手Clifford Brown的音樂(lè)中得到啟示，并很快驅(qū)使他投入到爵士音樂(lè)這片新天地中，70年代他移居法國(guó)后，就開(kāi)始為一些著名的爵士樂(lè)手伴奏，諸如Chet Baker, Ron Carter, Michel Petrucciani, Jan Garbarek等。直到他遇見(jiàn)給他帶來(lái)巨大影響的人： Astor Piazzolla。
Richard Galliano曾經(jīng)說(shuō)過(guò)，Piazzolla就是他的導(dǎo)師，引導(dǎo)他掌握自己的風(fēng)格，并一直鼓勵(lì)他，讓他充滿信心，直到Piazzolla逝世，他們一直是伙伴關(guān)系。在與Piazzolla合作這段時(shí)期內(nèi)，Richard Galliano重拾歐洲民謠的傳統(tǒng)，以一種全新的方式來(lái)表達(dá)他內(nèi)心的探戈。雖然六角的小手風(fēng)琴bandoneon琴作為一樣非常本土化特殊的民間樂(lè)器，在爵士樂(lè)中絕少有成功者，且難登高雅之堂，但是Richard Galliano的卻成功地將探戈這種小酒館式的小調(diào)舞曲以手風(fēng)琴與管弦樂(lè)隊(duì)合作的手法來(lái)演繹，有時(shí)候甚至氣勢(shì)恢弘，帶有強(qiáng)烈的英雄詩(shī)歌體般的氣韻。
他還接觸了廣泛的國(guó)際音樂(lè)人，與許多人有過(guò)合作。2003年在瑞士的Willisau爵士音樂(lè)會(huì)上，Richard Galliano連同六名音樂(lè)家演奏了一場(chǎng)精彩的音樂(lè)會(huì)--Piazzolla Forever，更是至今為止最令人大開(kāi)眼界的探戈作品。
如果你在尋找手風(fēng)琴在世界各地的足跡，不管是在芬蘭、地中海岸、南美阿根廷，蓋利安諾這張擁有獨(dú)特風(fēng)格又包羅萬(wàn)象的專(zhuān)輯，一定會(huì)讓你擁有環(huán)抱世界般的豐富和甜蜜。
Accordionist Richard Galliano did for European folk — specifically, the early-20th-century French ballroom dance form known as musette — what his mentor Astor Piazzolla did for the Argentinean tango. Galliano re-imagined and revitalized a musical tradition, expanding its emotional range to reflect modern sensibilities, and opening it up to improvisation learned through American jazz. In fact, Galliano was more of a jazz musician than a folk one, although he blurred the lines so much that distinctions were often difficult to make. Born in France of Italian stock, Galliano began playing accordion (as his father did) at a young age. He later picked up the trombone, and studied composition at the Academy in Nice; he also fell in love with jazz as a teenager, particularly cool-era Miles Davis and Clifford Brown, and made it his primary focus by the late 60s. Making a living as a jazz accordionist naturally proved difficult; fortunately, after moving to Paris in 1973, he landed a position as conductor, arranger, and composer for Claude Nougaros orchestra. He remained there until 1976, and went on to work with numerous American and European jazz luminaries, including Chet Baker, Joe Zawinul, Toots Thielemans, Ron Carter, Michel Petrucciani, and Jan Garbarek. After meeting Astor Piazzolla, Galliano refocused on his European heritage, and set about reviving and updating musette, widely considered antiquated at the time. He signed with Dreyfus in 1993, and the label gave him enough exposure to cause a stir first in his home country, then among international jazz and world music fans. Regular recordings followed, some with clarinetist/soprano saxophonist Michel Portal, some with guitarist Jean Marie Ecay, some with his favorite rhythm section of bassist Jean-Fran?ois Jenny-Clark and drummer Daniel Humair (after Jenny-Clarks untimely death, Rémi Vignolo took his place). In 2001, Dreyfus released Gallianissimo, a compilation drawing from his seven albums for the label.