
Why for Jazz 是 Y4 旗下的一档关于爵士乐的音频播客。我们主张爵士不应该只是一种音乐类型,它更为当代都市生活提供了一种可以参考的可能性。我们的口号是:即兴即合理。
| Publishes | Twice monthly | Episodes | 135 | Founded | 6 years ago |
|---|---|---|---|---|---|
| Language | Number of Listeners | Category | Music |

前面我们聊过了日本的爵士音乐家,以及愿意走进线下聆听他们的爵士乐听众。而在1970年代,日本爵士乐手纵使有着世界级的水准,但却很少有出唱片的机会。一个叫做“三盲鼠”的唱片公司正是看到了这一点,承担起了为日本爵士乐录制唱片的任务,并且随着日本在电子音响器材领域的崛起,塑造了一整套围绕着爵士乐的美学系统。
播客的文字稿可以在小报童找到。
Playlist of the Show:
[02:17] Art Blakey – Three Blind Mice
[11:04] 峰厚介五重奏... more
当一个人开始听爵士乐的时候,最先听到的一定是比较犀利的旋律乐器,比如小号,比如萨克斯,比如钢琴。之后会去听音乐里面的鼓点,因为鼓点虽然没有音高和和弦,但它可以把节奏直接传到你的心脏。而只有当一个人真的听了很久音乐之后,才会在背景里面,隐隐的听出一个叫做贝斯的东西。
这其实并不是听众的问题。贝斯这样乐器打被发明出来,就是为了给整个乐队提供稳定的根音用的,你可以把它想象为一首曲子的地基。然而一代代的贝斯大师们,都在想方设法如何能够让贝斯这个乐器在乐队里多说几句。直到一个叫做Victor Woot... more
在这一期之前,我们一直介绍的都是音乐家。在日本爵士乐的历史上,在音乐家们不断精进技艺,不断探索边界的同时,还有另一群不知名的大众,他们把聆听变成了一种日本特有的仪式。而这正是日本的爵士吃茶文化。
播客的文字稿可以在小报童找到。
Playlist of the Show:
[20:04] Roland Kirk “The Inflated Tears & Haitian Flight Song” on the Ed Sullivan Show
[40:23] 村上春树爵士电台
在这一期里,我想介绍两位音乐家。他们是日本自由爵士极限的边界。换句话说,知道了这两个人之后,你所听到的任何日本自由爵士乐,都在他们的光谱之中了。当然,你可以说,做到前无古人很容易,但后无来者并不简单。而这两个人,正是为了后来日本更前卫的音乐,比如噪音音乐,搭建了一个可以持续下去的框架。这一期我们聊:萨克斯手阿部薰和吉他手高柳昌行。
这一期的音乐,也许是 Why for Jazz 有史以来最“难听”的音乐,但它们却也有着自己的意义。
播客的文字稿可以在小报童找到。
list of th... more
How
一直很喜欢爵士乐,但从来没了解过这些乐手,偶然在博客看到了,听了之后很喜欢,感谢
難得的爵士樂podcast,加油❤️
从24年初才开始听Why for Jazz这档节目,从《凌晨四点|京都一日》开始,就这样断断续续把之前的都听完,不觉中已经成为我在日本留学生活中的每日定番,一份珍贵的陪伴。同时,爵士乐也在潜移默化中影响着我,让心态变得随和许多,学会放下内耗,享受即兴,享受当下:-)
文本写的很好,每一个爵士乐大师故事都和他们作品一样好
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Apple Podcasts | #5 | |
Apple Podcasts | #106 | |
Apple Podcasts | #239 |
Listeners, social reach, demographics and more for this podcast.
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Why for Jazz launched 6 years ago and published 135 episodes to date. You can find more information about this podcast including rankings, audience demographics and engagement in our podcast database.
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