爵士迷请注意！第十二届OCT-LOFT国际爵士音乐节就要来了！

Nils Petter Molvær，挪威小号手、作曲家与制作人，融汇爵士、氛围音乐、浩室电子、碎拍等多种风格，兼收嘻哈、摇滚与流行音乐元素，举重若轻地重塑出极具深度又充满戏剧张力的独特声景。

他 1997 年的个人专辑 Khmer 至今仍是 ECM 商业上最成功、最具影响力的唱片之一，获得了超越爵士圈的热烈赞誉。这张里程碑式的专辑被公认为爵士乐向数字时代演进的分水岭，也奠定了 Molvær 作为九十年代欧洲新爵士运动领军人物之一的地位。

Molvær 的音乐创作既汲取了斯堪的纳维亚的自然诗意，又融入了电子声效的精密编排，同时还受到 Miles Davis 和 Jon Hassell 等先驱的深刻影响，但最重要的是——他始终忠于自我。聆听他演奏，你会轻易忘记，那原本是一支小号。

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Norwegian trumpet player, composer, and producer Nils Petter Molvær takes multiple music styles such as jazz, ambient, house, electronic and break beats, as well as elements from hip-hop, rock and pop music, and effortlessly reshapes them into unique and dramatic soundscapes of deep intensity.

His 1997 album Khmer was a landmark release that remains one of ECM's most commercially successful and influential releases, gaining critical acclaim beyond jazz circles. It is frequently cited as a watershed for jazz's evolution in the digital age, and established Molvær's reputation as one of the leading voices of the new European jazz movement of the 90s.

Molvær has his own very individual sound, influenced as much by the poetry of Scandinavian nature as by electronic calculation, and last but not least by colleagues like Miles Davis and Jon Hassell. But more than anything else, Molvær has himself. Listening to him play, it's easy to forget that his instrument is a trumpet.

藤井乡子与 Joe Fonda 二人的无间合作，是创造力自由激荡的结晶—— “藤井和 Fonda 能够毫不费力地在优美抒情与复杂前卫之间游走。”（All About Jazz）

Joe Fonda 生于 1954 年，是一位作曲家、贝斯手、录音艺术家、跨学科表演者、制作人和教育家。他在 1984 年到 1999 年期间是著名作曲家、即兴演奏家 Anthony Braxton 的贝斯手。Braxton 这样评价他：“Joe Fonda 的音乐承载着一种关于信念与奉献的鲜活传承。未来的音乐史学家定会惊叹于 Fonda 先生艺术贡献的广度——这是一位真正的演奏巨匠，更是至高境界的作曲家。”

作为一名成就卓越的国际知名爵士音乐家，Fonda 曾与自己的乐团在世界各地演出，并与众多杰出的音乐家有过合作，如 Archie Shepp、Ken McIntyre、Lou Donaldson、Leo Smith、Perry Robinson、Bill Dixon、Han Bennink、徐凤霞、Gebhard Ullmann、Carla Bley、Barry Altschul 和 Billy Bang 等。

钢琴家兼作曲家藤井乡子是“一位兼具澎湃激情与精妙克制的即兴演奏家”（《纽约时报》），是当今爵士乐坛最具原创性的声音之一。在超过 25 年的时间里，她创造了一种跨越多种流派的、独特而个人化的音乐，将爵士、当代古典、摇滚和传统日本音乐融为一炉，极具辨识度。

自 1996 年崭露头角以来，藤井一直领导着现代即兴音乐领域一些最具持续创造力的乐团，其中不可不提的要数与 Mark Dresser 和 Jim Black 组成的钢琴三重奏，以及有 The Ruins 的鼓手吉田达也参与的前卫摇滚四重奏。藤井是公认的国际一流大型爵士乐团作曲家之一，Cadence 杂志因此称她为“自由爵士界的艾灵顿公爵”。

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Duo Satoko Fujii and Joe Fonda creative freedom together. "Fujii and Fonda move seamlessly from lyricism to complex avant-garde." (All About Jazz)

Born 1954, Joe Fonda is a composer, bassist, recording artist, interdisciplinary performer, producer and educator. From 1984 to 1999, he was the bassist with the renowned composer-improviser and NEA Jazz Master Anthony Braxton. "The music of Joe Fonda is part of a living tradition of belief and dedication. Future historians will be surprised at the breadth of Mr. Fonda's offerings. This is a real virtuoso and composer of the highest order," said Braxton.

An accomplished international jazz artist, Fonda has performed with his own ensembles throughout the world. He has  collaborated  and performed with such artists as Archie Shepp, Ken McIntyre, Lou Donaldson, Leo Smith, Perry Robinson, Bill Dixon, Han Bennink, Xu Fengxia, Gebhard Ullmann, Carla Bley, Barry Altschul and Billy Bang.

Pianist and composer Satoko Fujii, "an improviser of rumbling intensity and generous restraint" (New York Times), is one of the most original voices in jazz today. For more than 25 years, she has created a unique, personal music that spans many genres, blending jazz, contemporary classical, rock, and traditional Japanese music into an innovative synthesis instantly recognizable as hers alone. 

Since she burst onto the scene in 1996, Fujii has led some of the most consistently creative ensembles in modern improvised music. Highlights include a piano trio with Mark Dresser and Jim Black, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins. Fujii has established herself as one of the world's leading composers for large jazz ensembles, prompting Cadence magazine to call her "the Ellington of free jazz."

Edition Redux 是享誉国际的美国自由即兴萨克斯/单簧管演奏家、作曲家、麦克阿瑟“天才奖”得主 Ken Vandermark 领衔的最新乐队项目。除了 Vandermark，这支四重奏还汇聚了代表芝加哥音乐新浪潮的三位极具创造力的音乐人：键盘手 Erez Dessel、鼓手 Lily Finnegan，以及演奏大号兼电子设备的 Beth McDonald。

Edition Redux 的音乐融汇了 Vandermark 的艺术视野，汲取了 AACM（芝加哥创新音乐家促进协会） 实验爵士与欧洲不同流派即兴音乐的精髓，并以后朋克精神进行演绎。乐队目前已发行两张专辑，并在欧美多地进行巡演及参与音乐节表演，广获好评。

此次，他们将呈现 Ken Vendermark Edition Redux 的中国首演。

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Edition Redux is the most recent of Ken Vandermark's ensembles, adding to the MacArthur Prize winner's internationally and critically acclaimed series of bands. In addition to Vandermark, who plays saxophones and clarinet with the group, this quartet is composed of Erez Dessel (keyboards), Lily Finnegan (drums), and Beth McDonald (tuba/electronics), who represent the next wave of Chicago's creative music scene. 

The music of Edition Redux includes the range of Vandermark's interests, incorporating influences from the experimental jazz of the AACM and different schools of improvised music developed in Europe with a post-punk attitude. The band has released two widely-acclaimed albums, and has toured and performed at music festivals in Europe and the States.

This performance will be Ken Vandermark Edition Redux's debut in China.

在美国以演奏前卫即兴爵士乐为生？常识告诉我们，这简直难如登天——但 Ken Vandermark 偏偏做到了。在音乐家圈子里，Vandermark 的敬业精神近乎传奇。这位芝加哥的管乐手已与近 40 个乐团合作发行了 100 多张专辑，每年有超过八个月在路上巡演，其余醒着的每分每秒则用于作曲、编曲、演出——以及试图管教他那两只精力过剩的爱犬。

影片《音乐家》采用艺术化的真实电影风格，摒弃了一切访谈和旁白。它如同一枚“墙上的苍蝇”式的时间胶囊，精准地捕捉了这种最具有美国特色的艺术形式中每一丝细微的声响与质感。导演 Daniel Kraus 是一位才华横溢的独立电影制作人，其作品曾被列入《纽约时报》“评论家之选”。他同时也是一位广受赞誉的作家，曾与导演 Guillermo del Toro 共同为奥斯卡最佳影片《水形物语》创作故事原型，并据此撰写同名小说。

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Common sense says you can't make a living in America playing avant-garde improvisational jazz. But Ken Vandermark does it anyway. Among musicians, Vandermark's work ethic is almost mythic. The Chicago reed player has released over 100 albums with nearly 40 ensembles, spends over eight months per year on the road, and lives every other waking moment composing, arranging, performing and trying to discipline his two hyperactive canines.

An artful cinéma-vérité-style work, the Musician forgoes all interviews and voice-overs. It is a fly-on-the-wall time capsule that expertly captures every subtle sound and texture of this most American of art forms. Director Daniel Kraus is a talented independent filmmaker whose work has earned New York Times Critics' Pick recognition. He is also an acclaimed author who co-created the story and novel for the Oscar-winning Best Picture The Shape of Water with director Guillermo del Toro.

这场分享将带你回到九十年代的芝加哥——在那个音乐能量不断碰撞重组的十年里，原本各自独立发展的地下音乐社群逐渐交汇，音乐家们在录音室互相助力，在舞台上并肩演出，在美学理念上彼此激发。他们之间的合作不仅打破了风格的边界，更共同建构了芝加哥独具影响力的音乐生态。我们将聚焦 Ken Vandermark、Rob Mazurek、Tortoise、Gastr del Sol、Kevin Drumm、U.S. Maple 等关键人物，在这幅自由爵士、后摇滚与实验音乐交织的独特图景中深度漫游。

讲者 Peter Margasak 是一位资深音乐记者，曾担任《芝加哥读者报》专职撰稿人逾二十年。他是知名爵士杂志 DownBeat、《室内乐》杂志和 Bandcamp Daily 等的定期撰稿人。其作品亦见于英国 The Wire 杂志、《纽约时报》、Musicworks 杂志、《滚石》杂志、《芝加哥论坛报》以及美国国家公共电台（NPR）的“All Things Considered”栏目。 自 2013 年起， 他也以音乐策划人的身份继续活跃于芝加哥。

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A discussion of how musicians from different musical communities worked together, collectively building Chicago's deeply influential scene. In the 90s, musicians from disparate underground scenes of Chicago increasingly collaborated, whether helping one another in the recording studio, sharing live bills, and sharing stylists ideas. The discussion will focus on artists such as Ken Vandermark, Rob Mazurek, Tortoise, Gastr del Sol, Kevin Drumm, U.S. Maple, and more.

Peter Margasak is a long-time music journalist who spent more than two decades as a staff writer at the Chicago Reader. He's a regular contributor to DownBeat, Chamber Music, and Bandcamp Daily, among other publications. His work has also appeared in The Wire, New York Times, Musicworks, Rolling Stone, Chicago Tribune, and NPR's "All Things Considered". Margasak has also been active as a curator of music events in Chicago since 2013.