Richard Galliano

Richard Galliano，1950年12月12日出生于法國戛納。Piazzolla最后一個關(guān)門弟子，這位有著意大利血統(tǒng)的法國人，被譽為20世紀最杰出的手風琴家， 其手風琴技巧令人炫目，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)的法國人，被譽為20世紀最杰出的手風琴家，其手風琴技巧令人炫目，尤其是演奏Piazzolla的名曲“自由探戈”，在后世的無數(shù)版本中，這是最耀眼令人贊嘆的。除了Libertango，如果從未聽過Richard Galliano的音樂，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。后者則是Galliano的作品，他融入了即興爵士的手法，豪華的樂隊伴奏，是在此之前從未有過的新探戈的嘗試。
Richard Galliano四歲起就跟隨其父練習手風琴，少年時代迷戀上了爵士，尤其從小號手Clifford Brown的音樂中得到啟示，并很快驅(qū)使他投入到爵士音樂這片新天地中，70年代他移居法國后，就開始為一些著名的爵士樂手伴奏，諸如Chet Baker, Ron Carter, Michel Petrucciani, Jan Garbarek等。直到他遇見給他帶來巨大影響的人： Astor Piazzolla。
Richard Galliano曾經(jīng)說過，Piazzolla就是他的導師，引導他掌握自己的風格，并一直鼓勵他，讓他充滿信心，直到Piazzolla逝世，他們一直是伙伴關(guān)系。在與Piazzolla合作這段時期內(nèi)，Richard Galliano重拾歐洲民謠的傳統(tǒng)，以一種全新的方式來表達他內(nèi)心的探戈。雖然六角的小手風琴bandoneon琴作為一樣非常本土化特殊的民間樂器，在爵士樂中絕少有成功者，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)舞曲以手風琴與管弦樂隊合作的手法來演繹，有時候甚至氣勢恢弘，帶有強烈的英雄詩歌體般的氣韻。
他還接觸了廣泛的國際音樂人，與許多人有過合作。2003年在瑞士的Willisau爵士音樂會上，Richard Galliano連同六名音樂家演奏了一場精彩的音樂會--Piazzolla Forever，更是至今為止最令人大開眼界的探戈作品。
如果你在尋找手風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特風格又包羅萬象的專輯，一定會讓你擁有環(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.