2005年，马特•麦克马洪（Matt McMahon）和西蒙•巴克尔（Simon Barker）飞往香港与彼德•什尔（Peter Scherr）再次进行了合作。结果表明：在此次三人组合中，他们放弃了之前在先锋音乐方面的探索。这个三重奏组合尝试了一种极其简朴的音乐，那些是此前从未以爵士乐的形式演奏的乐曲。他们不仅演奏了原创的曲目，而且还演奏了琼尼•米切尔（Joni Mitchell）、甲壳虫乐队（The Beatles）以及尼克•德雷克（Nick Drake）等艺术家的曲目。有一点从第一次排练开始就很清楚了：这里正发生一些特殊的事情。他们在演出时加入了自由和强烈等概念，并收到了非常好的效果。听众们被这种新的声音和能量迷住了。他们三人随后在录音间里，于不经意间录制了一张深入人心的唱片：《爵士民歌（Jazz Folk）》。

钢琴家／作曲家 Matt McMahon 和打击乐手 Simon Barker 都属于悉尼最好的即兴音乐家。
低音小提琴手／作曲家 Peter Scherr 长期居住香港，他致力于把创意音乐带进这个地区，这次很高兴欢迎这两位出色的音乐家再次莅临。

Matt McMahon
Matt McMahon 是一位悉尼的钢琴家和作曲家，自1993年以来一直活跃于悉尼音乐界。
Matt 自小接受古典音乐训练，从18、19岁起，开始追求自己对爵士乐的兴趣。作为艺术本科课程的一部分，他在悉尼大学学习过音乐，并于1994年在新南威尔士音乐学院完成爵士乐专科课程。此后，他一直在各种场合进行专业演出。
* 担任 Vince Jones 乐队的钢琴师和音乐指导
* 与许多其他歌手合作，包括：Grace Knight、Tina Harrod、Robyne Dunn
    * 在 Bobby Previte（美国）1999 年澳洲“Bitches Brew Project”巡回演出中与他合作
    * 在包括 Dale Barlow、Guy Strazzullo、Steve Hunter、Gordon Brisker、Dave Panichi、Sandy Evans／Andrew Robson、Carl Dewhurst 和 Phil Slater 等在内的许多乐队中演奏
    * 在1999年 Wangaratta 爵士节中获全国爵士奖
    * 活跃于 Band of Five Names 乐队中。该乐队已发行两套颇受好评的专辑，并常在本地及世界其它地方演出
    * 领衔自己的乐队，与澳大利亚许多最受尊敬的音乐家合作
    * 在澳大利亚和世界各地的许多节日庆典和俱乐部与许多乐队合作演出。

Simon Barker
Simon 毕业于曼哈顿音乐学院，师从John Riley、Keith Copeland 和 Marvin "Smitty" Smith 。
自1990年返回澳大利亚后，一直在澳洲、欧洲、亚洲和美国各地演出，包括与 Mark Isaacs 三人组在俄罗斯举行横跨西伯利亚17城市巡回音乐会。
常与澳洲最好的爵士乐队合作演出，比如Band of Five Names、Scott Tinkler 的 Drub、Vince Jones、Baecastuff、James Muller 四人组以及 Matt McMahon 三人组。Simon 还与许多国际巡回演出艺术家合作演出过，包括 Claire Martin（英国）、Sheila Jordan（美国）、Gary Smulyan、John Hicks 和 Carlos Ward（美国）等。
Simon 同样活跃于爵士乐教育领域。他在东亚各地的大学里举办研习班和进行私人辅导，包括中央音乐学院（北京）、Mahidol 大学（泰国）、All That Jazz 系列（香港）、河内爵士合作社（越南）、首尔爵士学院（韩国）和 Christchurch 理工大学（新西兰）等。
1998年和2000年，他担任堪培拉音乐学院爵士乐推广计划的客座音乐家，定期在Southern Cross 大学和Billy Hyde的鼓乐学院开办大师班。
他对于与东亚音乐家合作发展新音乐的兴趣，也导致了他与韩国音乐家的合作，比如钢琴家 Kim Gyong Min（首尔，1999年11月）和鼓手／作曲家Won Il（首尔，2002年4月）。

Peter Scherr
Peter Scherr 是旅居香港的美国低音大提琴家／作曲家／音乐策划人，拥有20多年专业经验，从交响乐演奏一直到爵士与先锋音乐的表演和作曲。他曾与众多一流创意音乐家同台演出和录制唱片，其中包括他兄弟Tony Scherr、鼓手 Kenny Wollesson、Jim Black 和 Anton Fier、Bruce Huron、John Carlson、Matt McMahon 和 Simon Barker 等。Shcerr 先生追求在独特兴趣领域里音乐的出神入化和启迪。他目前的焦点是创意音乐概念的表现。他在香港组织和参与表演了一系列音乐会（现在已是第4个季度），把在创意音乐以及创作、演奏和录制原创作品方面处于先锋地位的艺术新秀汇聚一堂。他的长期目标之一，是利用世界各地最引入注意的即兴音乐家的才能，在香港实现创意音乐的普及。

In 2005, Matt McMahon and Simon Barker flew to Hong Kong to collaborate again with Peter Scherr. This project proved to be a departure from the group’s previous avant-garde explorations. The trio explored music of compelling simplicity: great songs that had not yet found their way into the jazz catalogue. Songs by artists such as Joni Mitchell, The Beatles and Nick Drake were read alongside original compositions. It was clear from the first rehearsals that something special was going on. The trio applied concepts of freedom and intensity to this material with stunning results. Audiences were captivated by this new sound and energy. The trio went into the recording studio, and in one trance-like session, captured an album of potent intimacy: Jazz Folk.

Pianist/ composer Matt McMahon and percussionist Simon Barker are two of Sydney’s finest improvising musicians.

Bassist/composer Peter Scherr, a long time resident of Hong Kong, is committed to bringing creative music to the region, and is delighted to welcome these two wonderful musicians back again.

Matt McMahon

Matt McMahon is a Sydney based pianist and composer who has been active on the Sydney scene since 1993.
Matt was classically trained before he pursued an interest in jazz in his late teens. He studied music as part of a Bachelor of Arts degree at Sydney University and completed an Associate Diploma in Jazz Studies from the NSW Conservatorium in 1994. Since then he has played professionally in a wide variety of contexts.

    * pianist and musical director for the Vince Jones band
    * has worked with many other singers including Grace Knight, Tina Harrod, Robyne Dunn
    * played with Bobby Previte (USA) during his 1999 Australian “Bitches Brew Project” tour
    * has performed in the bands of Dale Barlow, Guy Strazzullo, Steve Hunter, Gordon Brisker, Dave Panichi, Sandy Evans/Andrew Robson, Carl Dewhurst, and Phil Slater, among others
    * won the National Jazz Award at the Wangaratta Festival of Jazz in 1999
    * actively involved with the group, the Band of Five Names having released two well respected albums and performing internationally and locally
    * he leads his own groups and works in collaboration with many of Australia’s most respected musicians
    * has performed at many festivals and clubs throughout Australia and internationally with many bands.

Simon Barker

Simon studied at the Manhattan School of Music with John Riley, Keith Copeland and Marvin "Smitty" Smith.
Since returning to Australia in 1990 he has performed throughout Australia, Europe, Asia and the US including a 17-city Tran-Siberian concert tour of Russia with the Mark Isaacs trio.
He performs regularly with many of Australia's finest jazz groups such as the Band of Five Names, Scott Tinkler's Drub, Vince Jones, Baecastuff, James Muller Quartet and the Matt McMahon Trio. Simon has also played with many international touring artists including Claire Martin (UK), Sheila Jordan (US), Gary Smulyan, John Hicks and Carlos Ward (US).

Equally active in the jazz education field Simon has given workshops and private tuition at universities throughout East Asia including the Beijing Central Music Academy, Mahidol University (Thailand), All That Jazz series (Hong Kong), Hanoi Jazz co-op (Vietnam), Seoul Jazz Academy (Korea) and the Christchurch Polytechnic (NZ).
In 1998 and 2000 he was a guest performer for the Canberra School of Music’s Jazz Initiative program and regularly conducts master classes at Southern Cross University and the Billy Hyde’s drum academy.
His interest in developing new music with East Asian musicians has also led to collaborations with Korean musicians such as pianist Kim Gyong Min (Seoul, Nov ’99) and Korean drummer/composer Won Il (Seoul, April ’02).

Peter Scherr
Peter Scherr is an American double bassist/composer/musical strategist living in Hong Kong. He has over 20 years professional experience ranging from positions with symphony orchestras through jazz and avant-garde music performance and composition. He has performed and recorded with leading creative musicians such as his brother Tony Scherr, drummers Kenny Wollesson, Jim Black and Anton Fier, Bruce Huron, John Carlson, Matt McMahon and Simon Barker among many others. Mr. Scherr pursues musical excellence and inspiration in areas of unique interest. His current focus is the realization of creative music concepts. He produces and performs in a series of concerts in Hong Kong (now in its 4thseason), bringing together emerging artists on the vanguard of creative music, composing, performing and recording original works. One of his long-term goals is the establishment of a common practice of creative music in China, drawing on the talent of the most interesting improvisers from around the world.

REVIEWS
评论

“The general standard of Australian contemporary jazz releases is remarkable and this is one of the really outstanding ones” (Band Of Five Names).
JOHN CLARE, Sydney Morning Herald.
“澳大利亚当代爵士乐出品普遍颇有水准，而这些更是其中相当出色的”（Band Of Five Names）
―JOHN CLARE，《Sydney Morning Herald》

“It is very hard to think of an Australian production more beautifully played and recorded…” (Band of Five Names “Severance”)
JOHN CLARE, Sydney Morning Herald.
“澳洲的作品中应该那个没有比这演绎和录音得更美的了…”（Band of Five Names 的“Severance”）
―JOHN CLARE，《Sydney Morning Herald》

“Matthew McMahon on keyboards, apparently still a student, was remarkable, imaginative…”
MARK CHAPMAN, Drum Media.
“看上去还是个学生的 Matthew McMahon 演奏的电子琴如此非凡、富于想象…”
－MARK CHAPMAN，《Drum Media》

“The highlight of the week was a short set by pianist Matt McMahon, in trio with Jonathan Zwartz and Simon Barker. As well as some stunning (and rather neat) piano compositions, this set featured some absolutely exquisite solos from all concerned … I’m left with the feeling that this was the best live music I’ve seen in Sydney for a very long time.
CAL CLUGSTON, Revolver.
“这周的亮点是钢琴家 Matt McMahon 与Jonathan Zwartz 和 Simon Barker 的三人组演奏的一首短曲。就象他们一些精彩（且相当优雅）的钢琴作品一样，这首曲子中每位演奏者都演绎了一些极其细腻的独奏…看完他们的表演，我觉得这是我在悉尼很长时间以来听到的最好的现场音乐。”
－CAL CLUGSTON，《Revolver》

“Musicians Matt McMahon, James Muller and Andrew Robson are the face of young Australian Jazz. That they have contributed musically so much to our culture already speaks volumes for the potential they possess and how much enjoyment and stimulation we can expect them to provide in the future. McMahon is a wonderfully allusive player, at times floating quietly on a breeze, then suddenly rumbling through a tune as if looking for a fight.”
CRAIG N PEARCE, Drum Media.
“音乐家 Matt McMahon、James Muller 和 Andrew Robson 是年轻的澳大利亚爵士乐的代表。他们在音乐上对我们文化的巨大贡献充分说明了他们所拥有的潜力以及我们将来可以从他们那里获得多少享受和刺激。McMahon 是一位擅长隐喻的音乐家，有时他安静地随微风飘荡，忽然又隆隆狂然，似乎要寻衅打架。”
－CRAIG N PEARCE，《Drum Media》

 

相关唱片 | Relative Record：

Jazz Folk《Jazz Folk》

相关演出 | Relative Performance：

June 2007, Hong Kong, Le Rideau

Introducing Headache, featuring: Jim Black on drums, 
Tony Scherr on electric guitar
, Briggan Krauss on saxophones and Peter Scherr on bass. Briggan and Tony are serious cats. They play together in a band called Sex Mob, also Tony plays with Bill Frisell, and is on every single Norah Jones record, including the recently released, “Not Too Late”. Tony has won a Grammy with Bill Frisell for best jazz record with Unspeakable. Jim Black is simply the most exciting drummer in the music right now, full stop. It is our extremely good fortune that he and Briggan and Tony have made themselves available for this special project.

隆重介绍Headache，主演：Jim Black（鼓）、Tony Scherr（电吉他）、Briggan Krauss（萨克斯）和Peter Scherr（低音提琴）。Briggan 和 Tony 都是很认真那种人。他们都在一个名叫 Sex Mob 的乐队演出。另外，Tony 还与 Bill Frisell 合作演出，并且，Norah Jones 录的每首歌都有他的伴奏，包括最近发行的“Not Too Late”。Tony 与 Bill Frisell 一起以 Unspeakable 这首歌赢得了格莱美最佳爵士歌曲奖。而 Jim Black 则是音乐界目前最令人兴奋的鼓手。这次他以及 Briggan 和 Tony 能抽出时间参加这个特别项目，真是非常难得。

Performer Bio’s
演出人员简介
Since coming to New York in the 80s, Tony Scherr has become one of the city's most prolific and in-demand sidemen, playing integral roles in the music of such notable artists as Bill Frisell, John Lurie (Lounge Lizards), Steve Bernstein (Sex Mob), and Norah Jones, as well as some of New York's better-kept secrets, such as Jesse Harris and the Ferdinandos, The Wollesens, Ursa Minor, and Slowpoke. Tony has recorded most of these latter artists at his Brooklyn home studio, helping to foster and document a tight-knit, intimate scene of players who are as skilled and daring as they are broadminded and modest.

自80年代来到纽约，Tony Scherr 就成为城中演出最频繁和最受欢迎的伴奏之一，在众多著名艺术家的音乐中担当不可或缺的角色。这些艺术家包括Bill Frisell、John Lurie（Lounge Lizards）、Steve Bernstein（Sex Mob）和 Norah Jones，以及纽约一些尚处闺阁的乐队，比如 Jesse Harris and the Ferdinandos、The Wollesens、Ursa Minor 以及 Slowpoke。Tony 在自己位于布鲁克林的家庭录音棚中为后面这些艺术家中的大多数都录过音，帮助培养和记录一个关系密切的乐手圈子的成长。这些人不但才艺出众、大胆创新，同时也心态开放和谦虚。

Jim Black has been playing drums for twenty-eight years. Born in 1967, he grew up in Seattle, WA, playing music ranging from garage rock to big band swing. In 1985 he went to Boston, MA to attend the Berklee College of Music. During this time he recorded numerous albums, performed in Europe and taught summer classes at Berklee. In 1991 he moved to Brooklyn, NY, and has since become one of the most in demand drummers in the jazz/new music scene today.

In addition to co-leading and composing for the groups Pachora and Human feel, Jim records and tours extensively with diverse groups including Ellery Eskelin, Chris Speed's Yeah No, Tim Berne's Bloodcount, Dave Douglas' Tiny Bell Trio, Uri Caine's Mahler, Bach, and Berio Projects, and Laurie Anderson.

Jim is currently recording and performing with his quartet AlasNoAxis, his latest cd "Habyor" is available on Winter & Winter Recordings. He also regularly performs with the collective Balkan-music-inspired quartet, PAcHORA, featuring Skuli Sverrisson, Brad Shepik, and Chris Speed.

Jim Black 有27年的击鼓历史。他出生于 1967 年，在华盛顿州西雅图市长大，其间玩过从车库摇滚到大乐队摇摆的各种音乐。1985 年，他到马萨诸塞州波士顿市的 Berklee 音乐学院上学。在这段时间里，他录制了无数专辑，在欧洲演出，并在 Berklee 执教暑假课程。1991 年，他搬到纽约布鲁克林，并从此成为爵士／新音乐界最受欢迎的鼓手之一。

除联合领衔 Pachora 和 Human feel 等乐队并为之谱曲外，Jim 还与许多其他乐队广泛合作录音和巡演。这些乐队包括：Ellery Eskelin、Chris Speed 的 Yeah No、Tim Berne 的Bloodcount、Dave Douglas 的 Tiny Bell Trio、Uri Caine 的 Mahler、Bach 和 Berio 项目，以及 Laurie Anderson。

Jim 目前正与自己的四人组 AlasNoAxis 录音和表演，他最新的CD “Habyor”已由 Winter & Winter Recordings 发行。他还经常参与受巴尔干音乐启发的四人组 PAcHORA（其他包括Skuli Sverrisson、Brad Shepik和Chris Speed）的演出。

Briggan Krauss attended Cornish College of the Arts in Seattle, Washington where he received a Bachelor of Fine Arts degree in music performance in 1992. In 1994 Briggan moved to Brooklyn, New York where he still lives today. 
Briggan has performed and recorded with musicians such as John Zorn, Wayne Horvitz, Bill Frisell, Eyvind Kang, Robin Holcomb, Anthony Coleman, Steven Bernstein's "Sex Mob", Madeski Martin and Wood, Bobby Previte, Jim Black, Hal Willner, Joey Baron, the New York Composer’s Orchestra and many others.

Briggan has made three records as a leader on Knitting Factory Records and has appeared on over thirty other records as a sideman. He has been reviewed and interviewed in jazz and new music publications in the United States, Europe and Japan.

In recent Downbeat Magazine Critic's Polls, “Sex Mob” was awarded “Best Beyond Band” and “Best Acoustic Jazz Band TWR” in 2002; and Briggan was named in the “Alto Saxophone TWR” category in both 2002 and 2003.

Briggan Krauss 毕业于华盛顿州西雅图市 Cornish 艺术学院，于 1992 年获音乐表演艺术本科学位。1994 年，Briggan 搬到纽约市布鲁克林，并一直居住在那里。Briggan 与许多著名音乐家合作表演和录音过，比如 John Zorn、Wayne Horvitz、Bill Frisell、Eyvind Kang、Robin Holcomb、Anthony Coleman、Steven Bernstein 的“Sex Mob”、Madeski Martin 和 Wood、Bobby Previte、Jim Black、Hal Willner、Joey Baron、the New York Composer’s Orchestra，等等…

Briggan 作为主音为 Knitting Factory Records 录过三张唱片，并作为伴奏参与了30多张其它唱片的录音。美国、欧洲和日本的爵士和新音乐杂志都评论和采访过他。

在最近《Downbeat Magazine》的评论家调查中，“Sex Mob”被评为“Best Beyond Band”，并在2002 年被评为“Best Acoustic Jazz Band TWR”，而 Briggan 则在 2002 年和 2003 年均获“Alto Saxophone TWR”提名。

 

相关演出 | Relative Performance：

March 2006, Hong Kong, Fringe Studio

Creative Music in China: a few words of explanation.                        By Peter Scherr

 

Creative Music is a handy phrase that I use to describe the musical projects that I am working on. It is general enough to encompass a wide variety of styles, yet emphasizes creativity, and the mind-set of an artistic endeavor. Within this broad category, I do have some specific interests, which will usually be present.

I prefer to avoid direct stylistic descrīptions like “Rock”, or “Jazz” or “Folk” because first of all, they do not accurately describe what I am trying to do, and secondly, because they can lead to restrictive expectations on the part of the audience. Yes, my music may contain elements from these music’s, but there is always an exploration of some area that is relatively unfamiliar to me. That is the reason for all of my projects. I want to find out more about something that is exciting and interesting to me –something that I may not understand at all, or may not fully understand.

I love exploring rhythm, so there is always a strong rhythmic element. I often build each project around a unique rhythm section, which gives a strong character right from the beginning. This generally is taken care of by the choice of drummer, since I play bass, which is a rhythm section instrument. But in the case of Zhu Fang Qiong, it is his rhythmic concept as a singer, player of stringed instruments, and percussion.

Another great example of this would be the selection of the drummer Jim Black for my band “Headache,” or Simon Barker for “Jazz Folk”. Both of these musicians have something absolutely unique, and when I first heard them, I was at once attracted and extremely excited by what they were doing, and also I had absolutely no idea how what they were doing worked. I had the sense that once I played with Jim, once I spent some time playing with Simon, certain things would become somewhat clearer to me. It’s not something that I can explain very well, but I really feel that it is true. It is an experiential thing.

With Jim, it is a certain kind of forward motion, and a feeling that no matter what you play, if you play it with conviction (not necessarily loud, but you have to “mean it”), it will sound good. He gives musicians an infinite number of “points of entry” when he plays. You can come in anywhere, and it will work… plus his concept of sound is so unique.

With Simon, just watching him play is very interesting. He sits at the drums in a unique way, approaches the kit with a very unusual posture. Once I got to know Simon a little bit, I started hearing about his interest in Korean Shamanistic music, and how he had spent a good part of the last 15 years going to Korea and seeking out Shaman musicians and trying to absorb their culture. Now, 15 years is a long time, and everything that Simon plays has a little bit of this Korean Shamanistic music in it. But he is a western musician, plays western drum kit, and it is not a simple pastiche of Korean musical tropes. It is a very deep integration.

Also in each project, there is a musical focus. I will either want to present someone’s musical ideas, like in the case of Joe Rosenberg, or Zhu FangQiong. In other projects, I will write the music myself. In Jazz Folk, we share the writing duties (and actually primarily play the music of established songwriters), and I am trying to organize another band with musicians from Southern China right now, where the writing of the music is shared.

Again, the choice is almost always something that interests me -that I don’t fully understand. Joe Rosenberg’s music is a perfect example. He always surprises me with the compositions that he brings. Initially, his music seemed to be steeped in an Anthony Braxton influence, and there were some references to contemporary Western Art Music practices. But more recently, each piece seems to be a set of strategies that is perfectly tailored to the unique skills and limitations of the musicians in the band. Also, he is always thinking about Indian musical culture, and Indonesian musical culture. Again, these aspects are never presented directly.

So I have several of these projects, and the problem that always comes up is how to build an audience for music that is so diverse. I like to focus on the fact that these are lively performances, and there is a lot of color, with such strong personalities in the bands. It is not necessary to have a technical understanding of the music, when you have a maniac like Edward Perraud at the drums. He is really as much a sorcerer and a magician as he is a drummer. If you watch him, you will definitely get a good show.

Another important aspect is the choice of venue and city. My music is best heard in places other than clubs or bars. I have had some success playing in club situations, of course, but when you get into a small theatre, or art gallery, the atmosphere is more conducive to an exploratory listening and viewing experience. People are ready to hear something for the first time. A notable exception to this would be some of the music houses in Beijing, where it seems to be fine to play just about any style of music. But for sure, it is best to try and avoid the “Jazz Club” syndrome. My music is almost always a little frustrating to a typical Jazz audience.

Which brings me naturally to the next question, which is: why China? Why do Creative Music in China? Well first of all, because I live here, and I am determined to pursue my creativity in music, and crucially, because many audiences in China are uniquely prepared to hear something new. The most exciting performances I have ever had have been in China. As opposed to Hong Kong, where it is very difficult (but not impossible) to get audiences excited about Creative Music. In the mainland, it seems that people are hungry for it. And among the young, educated and artistically inclined, there is an uncanny sophistication and familiarity with the cutting edge, particularly in some cities that I have experienced like Guangzhou, ChongQing and Beijing. There are still so many places to explore. I hope that I get a chance to play in Shangxi, and Yunnan, and the city of Dalian. I heard an incredible band from Dalian a few weeks ago. Wang Wen.

Bringing projects to China from overseas is a financial challenge, to say the least, so I am changing my focus a little bit. It’s a great opportunity to make a serious effort to find out about the incredible talent and different musical cultures within China. I’ll be doing some traveling in China over the next years to try and meet musicians that might be interested in collaboration. That will be something for me to ponder, delight in and misconstrue for years to come.

 

www.peterscherr.com

http://www.youtube.com/peterscherr

 

中国的创意音乐：言简意赅 作者：Peter Scherr

 

我常将手头的音乐项目称为创意音乐，这种说法简单明了，内涵丰富。创作一般涵盖多种音乐风格，突出创意及艺术创作的理念。在风格多样的音乐门类中，我有自己特别的兴趣所在，常在音乐作品中予以表现。

我尽量避免用“摇滚”、“爵士”或“民谣”等较为直接的字眼说明风格，原因在于，首先，这些字眼不能准确说明我目前的创作，其次，这些字眼会局限观众的预期。我的音乐包含各种音乐风格的元素，但其中也包括对我较为陌生的音乐风格的探索。这是我进行音乐创作的原因。我希望了解更多能令我倍感兴奋且兴趣十足的音乐－可能是我根本无法理解，或无法完全理解的音乐。

我热衷于尝试各种节奏，作品中常有鲜明的节奏元素。我常以特定节奏为基础进行创作，使作品一开始便具有突出的特点。由于我是贝斯手，一般由选择鼓手决定作品的节奏。而朱芳琼则通过演唱、弹奏弦乐器和打击乐器表现自己的节奏理念。

另一个很典型的实例是，选择Jim Black担任乐队“Headache”的鼓手，或Simon Barker担任“Jazz Folk”的鼓手。这两位乐手都有自己与众不同的特色，第一次听他们演奏时，我立即被深深吸引，对他们的演奏风格倍感兴奋，我根本想不到他们是怎样实现这种演奏方式的。我强烈感觉到，只要有机会与Jim和Simon共同演奏，我一定会找到自己的创作方向。这种感觉我很难说清楚，但确实存在。这完全是凭经验作出的判断。

Jim充满激情，让我感到，无论他演奏什么音乐，只要全情投入（音量不必很大，但一定要投入），都十分悦耳。他演奏时，为其他乐手创造了丰富的“切入点”。你可随时插入演奏，效果都十分出色……他的乐感独具特色。

至于Simon，单是观赏他演奏已经趣味十足。他用独特的方式坐在鼓旁，用非比寻常的姿态击鼓。与Simon结识一段时间后，我了解到他对韩国萨满教音乐的兴趣，他曾在韩国生活15年，拜访萨满音乐家，努力学习萨满文化。15年是漫长的时间，现在，Simon的所有演奏都多少带有韩国萨满音乐的元素。但他是西方乐手，演奏西式架子鼓，并非单纯模范韩国音乐。他将东西方音乐特点深度融合。

我的各项创作均以音乐为核心。我希望表现他人的音乐理念，如Joe Rosenberg或朱芳琼。在其它音乐项目中，我会自己作曲。在Jazz Folk乐队，我们共同创作，目前，我正努力将来自中国南方的乐手组成乐队，共同创作音乐。

我始终对选择兴趣浓厚－我自己也搞不清楚其中的原因。Joe Rosenberg的音乐是很好的例子。他的作曲常令我喜出望外。一开始，他的音乐深受Anthony Braxton的影响，有些创作参考当代西方艺术音乐风格。但他近期的作品自成体系，与乐队乐手的独特技巧和个人极限完美契合。他对印度音乐文化和印尼音乐文化兴趣浓厚。但这些特点从未在音乐创作中直接表现。

我的工作包括多项此类音乐项目，问题总是集中于如何为这种多元化音乐风格赢得观众。我着力突出乐队生动的表演形式，色彩斑斓，每个乐手都有鲜明的特点。乐队中有Edward Perraud这样的癫狂乐手击鼓，对音乐的技术理解已经不再重要。他的表演仿佛将足球运动员、魔术师和鼓手的角色融为一体。只要观看他表演，你定会赞叹不已。

演出场地和城市的选择是另一重要方面。在夜总会或酒吧以外的地点演出，我的音乐效果更佳。当然，在夜总会也曾成功演出，但如果在小剧场或画廊观看，现场氛围更有助于观众获得美好的视听体验。很多观众都期望听到前所未有的音乐。部分北京音乐厅对此类演出的期望较高，那里的演出场地适合演奏各种风格的音乐。但勿庸置疑的是，最好努力避免出现“爵士乐夜总会”综合症。对于典型的爵士乐观众而言，我的音乐会令他们感到失望。

这自然引出下一个问题，即：为何选择中国？为何在中国表演创意音乐？原因在于，首先，我生活在中国，我决心追逐我的音乐创意梦想，更为重要的是，大量中国观众对新音乐形式情有独衷。所有演出中，最令我兴奋的演出就是在中国举行的。这与香港截然不同，香港观众很难（但并非不可能）对创意音乐产生热情。在中国大陆，观众对创意音乐的喜爱则如饥似渴。这些年轻、受过良好教育且喜爱艺术的观众对前卫艺术形式兴趣浓厚且了解丰富，我曾去过的广州、重庆和北京等城市尤其如此。还有更多的城市等待我们了解。我希望能有机会在陕西、云南和大连演出。几周前，我曾听到大连惘闻乐队的音乐，令人赞叹。

将音乐项目由海外发展至中国还存在经济方面的挑战，因此，我略微改变了自己工作重点。这是一次很好的机会，有助于我们深入了解中国的非凡人才和与众不同的音乐文化。将来我会常到中国旅行，与有兴趣合作的音乐人会面。这将是我在来年思考、享受和感悟的主要内容。

 

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What can I say? I've been negligent. I've been absent. I've been, well, working out the kinks... Actually I've been working IN the kinks for the last hour or so. Going on a serious explorationi of this band. They only had a few stateside hits, and on watching the movie The Darjeeling Limited, I was just blown away by the quality of these songs that I had never heard: The Stranger, Powerman, etc. So I picked up about 15 records, and I'm getting it on... ...On paper, or rather by the appearance of my calendar in my computer, this might seem like a quiet time. My last major project was in Feb, and the next one is at the end of next month, but I've been very busy. Simplifiying my business, and reverting back to one man band status as an organization has been an incredibly important and positive move. I've started doing my own legwork, and the results are ...empowering. I am sure that my artists will appreciate the new lean and mean organization. ...got some great new contacts in China, and I will be performing in some new territories over the next six months. Finally finding some good contacts in Chengdu, and also other cities. ...In late May, I will be bringing The Hysterical Society to China, but not to Hong Kong. Just couldn't work out the dates.  The Hysterical Society are a hard hitting rock-jazz improvising group comprised of some of New York’s finest players, along with top musicians from Sydney and Hong Kong. The group’s melodic focus is Michael Blake. Known to the cognoscenti as a unique and compelling voice in today’s creative music, Blake is perhaps best known as the tenor saxophonist of the Lounge Lizards. In this context, his soaring melodic sense will showcase against the incredible powerhouse rhythm section of Michael Sarin (Dave Douglas) and Peter Scherr (Creative Music in China director). On guitar, Carl Dewhurst, one of Australia’s finest guitarists, will at once color and propel this  very strange meeting. Charts are to be provided my Mssrs Blake and Scherr, who have an ear for the new, the exciting, and the unforgettable. The first half of July is reserved for Jazz Folk. We will be at Backstage Live on Saturday July 12. Thanks to Vicky for working out the deal. Here's the Jazz Folk blurb: In 2005, Matt McMahon and Simon Barker flew to Hong Kong to collaborate again with Peter Scherr. This project proved to be a departure from the group’s previous avant-garde explorations. The trio explored music of compelling simplicity: great songs that had not yet found their way into the jazz catalogue. Songs by artists such as Joni Mitchell, The Beatles and Nick Drake were read alongside original compositions. It was clear from the first rehearsals that something special was going on. The trio applied concepts of freedom and intensity to this material with stunning results. Audiences were captivated by this new sound and energy. The trio went into the recording studio, and in one trance-like session, captured an album of potent intimacy: Jazz Folk. Later in July it is The Jackson Harrison Trio. Jackson is one of the finest of a new generation of Australian post-jazz creative musicians. We will be at Backstage Live on Saturday August 2. Read the blurb here: People are talking about Jackson Harrison now. For good reason: he is an exceptionally talented, strikingly original pianist. He is young, but wise beyond his years. He has chosen well for his music. It is at times delicate, furious, elusive in classification. Sophisticated. Informed by the best of the past, yet completely new. This summer, Jackson will bring his trio to China. He has sought out kindred spirits for his music. Jochen Rueckert on drums. Peter Scherr on bass. To flesh out his ethereal compositions. In the spirit of now. In the spirit of communication. The Jackson Harrison trio. That's about all I have time for at the moment. I'll be back hopefully in the not too distant future with some more entertaining musings...

  Well I really learned something yesterday. It all started when the sound engineer asked me to turn down a notch from where I was the previous night. I hadn't turned up or changed anything since rehearsal. But I guess I play harder when the show starts. Dig in more, etc. Anyway, folks in the audience were commenting that there was too much bass, and since I wasn't in the house system, there was nothing that the engineer could do. Well tonight while I was warming up, I by chance moved right in front of my speaker, which is elevated considerably higher than normal. This is important too. The center of the cabinet was about ear height. Standing there, I could suddenly hear myself in a lot more detail. The bass was not feeding back, because the amp was somewhat lower volume than where I usually keep it. Also, this new position gave me better sight lines with Ted Lo and drummer Nick McBride. What I found during the show was that I could move further away from the speaker, but that so long as I was directly in the line of fire of the cabinet, the effect remained. So: This new way is good. I can hear the initial parts of the notes much more clearly, which is good for pitch, timing, knowing how hard to play etc. And the bass doesn't feed back. I think this is the new way. I almost hate to admit it, but I think my concentration last night was as good or better than in the Headache shows. I felt so relaxed and had so much space for myself in the music. Not that I always used it well. My solo on How Deep is Your Love was clearly Tomato Worthy :) Well clearly I learned something very important. I'll hang on to it. One more chance to play with these great musicians tonight at 7:45 pm at the Fringe... please come! Hey, please come see Joe Rosenberg's band next week. See my Forum and Event blog below. That'll be the last chance for Creative Music in China programs until late March. I'm going to Indonesia to do some concerts next week, and going to NY in Feb to visit family, record with family, record with friends, meet new potential partners in Creative Music etc.