Herbie Mann

小简介
Herbie Mann 赫尔比·曼( 1930/4/16–2003/7/1)，美国爵士长笛演奏家，也是世界音乐重要的早期实践者，在他职业生涯的早期，他也吹奏萨克斯风和单簧管，而Mann是最早专攻爵士长笛者之一，也可能是上世纪60年代最杰出的爵士长笛演奏者。 　　他生于纽约，是将世界各地音乐元素与爵士结合的先锋。在1959年一次州部发起的慈善旅游之后，他把非洲音乐元素融入爵士音乐中，并加入一名康茄舞音乐演奏者到他的乐队中，同年录制了长笛唱片，一张古巴爵士唱片。在1961年，Mann到巴西旅游回美国后就和巴西的演奏家（包括Antonio Carlos Jobim和吉他手Baden Powell）一起录制唱片。这张唱片使得bossa nova风靡起来。贯穿他的职业生涯，有很多唱片都采用了巴西音乐元素。60年代中期，Mann雇用了年轻的Chick Corea为他的乐队演奏，仍然是拉丁音乐风格。他和Chick Corea合作的作品都编辑进拉丁乐队全集中。到了70年代后期80年代早期，Mann在纽约演奏二重奏，专辑Village Gate也被抢购一空。 1969年打击乐唱片Memphis Underground发行之后，70年代发行的一系列的迪斯科风格的轻柔爵士唱片引来纯粹爵士主义者的批评。在这些唱片中与之合作的都是灵魂乐和爵士乐领域非常著名的音乐家，包括歌手Cissy Houston（Whitney Houston的妈妈），吉他手Duane Allman和Larry Coryell，贝斯手Donald "Duck" Dunn 和 Chuck Rainey，以及鼓手Al Jackson 和 Bernard Purdie。在这段时期内Mann创作了比爵士音乐多的流行歌曲。一篇1998年的采访报道这样说“在最近的25张Herbie Mann的唱片都成为流行榜的榜首，成功的超越他的大多数爵士同辈。” 　　为长笛在美国爵士乐界创立地位的Herbie Mann，是少数坚持以长笛作为主奏器乐的乐手之一，曾与Clifford Brown、 Phil Woods等多位爵士大师合作过，演奏风格多元，举凡酷派、咆勃、Bossa Nova甚至放克等乐风都曾是Herbie的演奏主题。
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.