CD Ripper for Ubuntu

When was the last time you need to rip tracks from CD? For me, I needed to rip a half-dozen of CDs in the past month. My only computer that still have a builtin CD-ROM drive runs Linux (Ubuntu.) It actually comes with RhythmBox that has the capability to rip (and play, of course) However, its default CD info database is MusicBrainz, which has trouble recognizing quite a few of my CDs. It does have a CDDB plugin (which I am too lazy to figure out how to install) Then I installed RipperX but got an error 22. Finally, I found that fre:ac works! And it came as a ApplImage so I didn't have to install anything. And it rips quicker than RhythmBox anyway. So, we have a winner! 

潮汕說唱

早前看網上直播有潮汕女主播在rap潮州話，方知有潮汕說唱的文化，除了女主播當日翻唱的Tizzy T，重要人物還有AFinger壹指團體（那是潮州版大懶堂了），以下是一條介紹潮汕hiphop的紀錄片：

葉子說到潮汕人祖先去馬來西亞謀生那段特別有feel, 我也從中認識了汕頭這個感覺上很親切但從未去過的地方。

Nat King Cole的South of the Border

《國境之南，太陽之西》算是村上春樹最不奇幻的小說之一，當愛情小說讀也可以，書名前半是指South of the Border這首美國歌曲，很多著名歌手都唱過，不過書中提到的Nat King Cole版卻從未有過錄音，雖然Google有一個搜尋結果是YouTube 片，不過那是「造」出來的，那就不連結了, 另一位爵士歌手Fats Domino倒真是有錄音傳世，而純器樂版本我推薦Benny Goodman Big Band的。其實我一直誤會書名是指East of the Sun (and west of the moon) 這首我更喜歡的Jazz standard!

孟德爾頌與德詩

本地的圖書館有個二手CD架，賣得相當便宜，去年我發現了這張孟德爾頌藝術歌曲的唱片只售$2，決定搏一搏，原來孟德爾頌的藝術歌曲水準和其他此道高手比起來未算突出，本碟可算是靠歌唱家的功力搭救，我也因此碟而接觸了一些德文詩，詩人當中名氣最大的當然是歌德，但我想介紹一首出自Emanuel von Geibel的詩，我翻譯如下：

我的心有如暗黑的夜
當樹頂沙沙作響
月亮平靜地從雲中升起大放光芒，看看！
樹林靜了下來聆聽 

你是月亮，閃閃生光的月亮
你用滿滿愛意
向我拋個媚眼
當中滿載天堂般的平安感，看看！
我如暴風雨的心已被安撫

Grammy and Jazz 2020

The entertainment industry likes to give out awards for sure. I realized I missed the Grammys after I came back from my trip. So I googled who were the winners in the jazz category and found the list from Jazziz, which has actually embedded videos from the winners. Nice! To me, it's always a good opportunity to find out who has released what in the previous years since my other limited sources to learn about new releases were Spotify, jazz magazines that I read occasionally and podcasts. One thing that annoyed me a lot this year is the nominated albums have LOTS of vocals. Isn't there a separate category for vocal already? Anyway, there are still many that I enjoyed. Check out my new playlist:

Of course I excluded all the pieces with vocal, to the best of my knowledge :P
I did include several big band albums, which traditionally I don't care for. I guess it have to do with the modern arrangements, pioneered by the likes of Maria Schneider. Modern big band jazz is no longer "a lot of instruments playing together" but music showcasing a wide varieties of "colors painted by different instruments"

2019年尾三張新唱片

近年認識新唱片有三個渠道，本帖介紹三張分別來自這三個渠道的唱片：

• Binker Golding: Abstractions of Reality Past and Incredible Feathers 這是Spotify介紹的新唱片，主角是英國爵士色士風手Binker Golding, 其實2017年我的Top 5爵士推介有他和鼓手Moses Boyd合作以Binker and Moses名義發表的作品。碟評說本碟靈感源自英國六七十年代爵士樂壇，大家不妨聽聽有沒有那味道？我對那可說無甚認識。
• Nicholas Payton: Relaxin' with Nick 這是爵士雜誌Downbeat內廣告介紹的新唱片，Nicholas Payton在我印象中是比較傳統派的小號手，皆因他算是New Orleans同鄉Wynton Marsalis的「弟子」，不過聽了本碟Stablemates一曲後我就改觀了，另外原來Payton除了吹小號也彈鋼琴及電子琴(Fender Rhodes)。美中不足是本碟夾雜了不少我無興趣的vocal.
• Cecilia Bartoli: Farinelli 這是音響雜誌Stereophile碟評介紹的新作，Cecilia這位Mezzo soprano我可算是追隨多年，她九十年代至今多張作品我都有聽，本碟全部曲目都是巴羅克時代著名閹人歌手Farinelli的拿手好戲，今時今日當然沒有男歌手唱得到，曲目也不如當年受歡迎，作曲家Porpora我就從來未聽過，Bartoli演譯他的詠嘆調"Alto Giove"令我 聽得好感動。

後記：Googled了一下Nicholas Payton和Marsalis方知原來早幾年Payton和Marsalis家族另一位「老大哥」Branford有過筆戰：辯論關於黑人音樂和爵士；長文慎入。

放二手黑膠

作為音響發燒友的我，當然有聽及收藏黑膠，不過從來沒有拿黑膠去二手唱片店賣的經驗，朋友最近試過拿了差不多一百隻去賣，估計值二十或三十美元，但對方只肯以總共二美元收了其中四五隻！被拒的包括不少著名樂隊作品呢，對於這一點我們都大惑不解。其實流行唱片由於很多人都已有，所以不好賣也不值錢；此文打破了「舊黑膠＝寶物」的迷思，值得一讀。（我總覺得朋友起碼也應該收到四五元吧，有點被low-balled了)

英國號

看了三十年live music, 自以為所有樂器及組合也都見識過了吧，誰知這個星期就欣賞了一個我完全陌生的組合：英國號(English horn),塔布拉鼓(tabla)及結他三重奏，演出者是爵士樂團Mandalaya，成員為英國號手Matt Renzi, 鼓手Nilan Chaudhuri及結他手Amit Heri, 三位均有深厚印度音樂根底，請欣賞以下視頻：
先離一離題：我相信聽音樂也和緣份很有關係，早一陣子隨車附送的六個月Sirius XM衛星電台服務終於結束（另文談論），重新開始聽冷落了多月的爵士podcast "In the Groove, Jazz and Beyond", DJ介紹了一首塔布拉鼓手Sameer Gupta的作品，我聽得津津有味；過兩天就在Spotify找些著名鼓手Zakir Hussain的唱片來聽聽（就是和低音提琴手Edgar Meyer及Banjo手Bela Fleck合作的The Melody of Rhythm) ;接著就去了這場音樂會！
正題是介紹英國號這件我一直以為和法國號相似但原來不是那回事的樂器！法國號我在中學時代已認識，還記得當年培正銀樂隊的指揮介紹過圓圓的法國號是他的主樂器，後來也知這件銅管樂器特別難玩，有位作家寫了一整本書主題就是講他的法國號如何難玩！英國號既不是英國人發明，不是來自英國，甚至不是屬於銅管樂的「號」，其實是木管樂器雙簧管(oboe)的低音版！詳見此文。最後介紹一條英國號playlist

2019日本之旅-北海道溫泉旅館篇

記得數年前台灣之旅有考慮過住溫泉旅館，後來因為種種已忘記了的原因取消了這個節目；今次去北海道，因為朋友介紹方知住溫泉旅館乃係指定動作，旅館費用一般包括食宿，食的都是高水準精心製作，相信能夠滿足家人對食的要求（本人倒不太有所謂）。考慮了以下幾間登別(Noboribetsu)的旅館：

• Hotel Mahoroba
• Noboribetsu Grand Hotel
• Noboribetsu Onsen Dai-ichi Takimotokan （第一滝本館）
• 旅亭 花ゆら

朋友去過最後兩間（後者酒店房內有私人溫泉），我們選了第一滝本館。由札幌開車，一個半小時就到登別地獄谷（其實應該先到酒店checkin及泊車然後行過去，反正地獄谷正正就在酒店旁，可省掉地獄谷的停車費，不過我想一入酒店坐下就只想hea不會想再出去行了！）地獄谷的風景就是大家心目中典型溫泉區地面四處冒煙的景象，這裡有多條行山徑，我們行了走到中心鐵泉池那條，來回半小時連拍照，燒了160大卡，我想那大概等於當晚旅館包的晚餐懷石料理的頭盤吧。除了美食，溫泉旅館的「主菜」當然是浸溫泉！第一滝本館為我這些對日本浸溫泉禮儀零認識的newbie相當貼心地提供了step-by-step instructions in English，我先浸了幾個室內用不同泉水的池，然後就到室外，發現下午至傍晚時段有賣酒！我點了一杯清酒，用傳統木製方型盒子（masu)裝著再用木盤盛載浮在池上，十分好feel. 當日飯前飯後各浸了一次，第二天早上再浸一次，才繼續登別之旅，參觀登別棕熊牧場，以下摘自官網：

蝦夷棕熊，是生活在北海道中最大的野獸，自古以來被阿依努民族信奉為「神」。現在約有兩千頭蝦夷棕熊生活在北海道，但數目卻除年遞減。棕熊牧場建於面對著俱多樂湖、有「棕熊山」之稱的森林裡。牧場從一九五八年八月開始，專門觀察及研究蝦夷棕熊，並且在飼養和繁殖上得到顯著的成就。在牧場裡的棕熊，由最初飼養的八頭開始，增加至現在的七十多頭，生活過得悠遊自在。

我們到的時間剛剛好看到「熊的本領試驗」，牧場地圖看起來好像很大，其實只需不到十分鐘走完，反而花在坐吊車的時間最長！事實上也是這兩程吊車最值回票價（二千六百円）呢。
之後是欣賞洞爺湖，坐的是每半小時一班，全程五十分鐘的「靚靚」渡輪（每位1420yen，比牧場抵玩！）
下一站就是北海道之旅最後一站：綠之風溫泉旅館(Midori no kaze resort)，其實我們是誤打誤撞才住了這裡：找房內有私人溫泉的酒店時，見這間的照片最清楚，後來才知此店不在登別，而是一小時以外的伊達市。和第一滝本館相比，綠之風似乎更新潮得來又更少商業味道，check-in時大堂沒有幾多人（不過後來發現竟然有一個台灣旅行團入住）。先歎了房內溫泉，坐了按摩椅，吃過自助晚餐等「落格」後才去探探綠之風的溫泉設施，幸好早一天在第一滝本館學了禮儀，不然在沒有太多指示的綠之風必定在本地人前失禮了（這就是我之前所說的缺商業味），綠之風室內的池略嫌普通，原來再下一層可出外，當真別有洞天：室外有多個大大小小的池，浸著各種不同味道顏色礦物質的泉水！紅橙黃綠紫均有，茶味酒味果味俱備，實在令我大開眼界（沒有男女共浴，不是那種「境界」），也比第一滝本館更多元化了很多。旅館頂樓是有天文望遠鏡的觀星台（要收費），只是當晚多雲不宜觀星，有興趣的朋友可以看看他們IG照片。
第二朝一早去再浸，浸完就享用其他「文青」設施：圖書室有體育藝術攝影音樂音響文學的雜誌，日文我看不懂，只看圖片也賞心悅目；還有一套高級音響（那對Avantgarde Uno Fino喇叭就超過萬五美元了，還未計那部McIntosh MA5200合拼式擴音機）及一堆CD供播放，早上八時只得我一個在飲免費咖啡歎世界聽音樂，包括以下這隻：


相當應景吧！

忘記我自己Fingerstyle

和各位本blog讀者（如果有的話）「久別重逢」第一個帖當然齊集我至愛的topics: 音樂、Hana，還有結他；介紹一條令我拿起已完全走音結他來彈的片：

奧斯卡爵士樂

繼2017年的La La Land之後，又有一套和爵士樂有關的電影在奧斯卡頒獎禮大出鋒頭，就是贏得本屆最佳電影的Green Book。一如既往，電影甫獲獎即惹來議論紛紛，以下幾點值得一提：
荷里活被指「左膠」當道，傾向頒獎給題材和少數族群如黑人或同性戀者相關的作品，Green Book似乎也符合以上「條件」：故事主線是黑人音樂家Don Shirley到美國南部巡迴演出時僱用一位白人司機Tony Vallelonga（也有Shirley和白人同性戀者好事被撞破後被補的情節）
有人批評故事老掉牙，倒過來是白人音樂家僱用黑人司機之類的題材，肯定沒有掌聲。
也有「相反意見」指電影焦點放在白人司機多於黑人音樂家，即是「不夠左膠」？
而Don Shirley後人指先人當年在南部根本未有受到幾多歧視，和司機也沒有建立起友誼，有誇張失實之嫌（不過Vallelonga的兒子則力指電影以事實為主）

各位請欣賞一下Dr Shirley的演奏：

大地之歌

老友今日傳來這張CD封套的照片：

我記得多年前讀過馬勒這套《大地之歌》的相關資料，知道馬勒當年迷信，害怕寫第九首交響曲後就要歸天，所以在完成這首交響曲不敢將之命名為《第九交響曲》（不過他後來發表《第九交響曲》，之後始終無法完成《第十》！）我也知道德文歌詞源自唐詩，當中有李白的作品，就沒有再深究；近年醉心讀唐詩，所以對《大地之歌》的唐詩原作十分好奇，方知雖然#1, #4, #5&#6樂章一早被考究出原詩，#2&#3的原作卻是迷團重重。直至作品誕生差不多九十年，學者才對兩者有較深入的研究，#2被斷定是錢起的《效古秋夜長》，#3則有可能是德詩所參考的法文詩集作者受李白詩啟發，大部份屬自由發揮的創作。維基百科有德詩和唐詩的對照表，值得一讀。

回到以前

再介紹一下我很欣賞的Hana菊梓喬，她之前曾以Haley XC為藝名，是樂隊Pleasure Garden的成員：

去年推出的「回到以前」是她在Haley XC年代在SoundCloud發表過的作品（部份歌詞為配合劇集改動過），另一首「轉」亦相當出色。

Hana曾用真名陳曉怡參加台灣的歌唱比賽，14年就有人點名讚賞過，此文有她當年的視頻。

下一站天后

寫這篇文章，預了給人家說我是打手，就當我是打手好了。是緣上星期六無線頒了勁歌金曲最受歡迎女歌手給我目前最喜愛的女歌手Hana菊梓喬，之後各大小專欄作家論壇網民紛紛撰文批評，看得最多的是「誰是菊梓喬？」其次是「怎能和梅艷芳比較？」還有「她在其他頒獎禮沒有獎」我姑且逐一回應。
不知何時開始，人們開始以無知為榮？「忘記我自己」一碟曾登上唱片銷量榜冠軍，如果真心有留意香港樂壇，總會聽過碟中作品吧？
我要承認我很喜歡梅姐多首作品，而她天后之名實至名歸，但大家要明白她當紅那個年代大眾娛樂不及今天的多，電視台影響力亦大得多，如果說Hana深受無線力捧，靠劇集歌上位，其實大家又記得梅姐當年也是一樣？其唱片公司華星和Hana所屬的星夢一樣是無線之附屬唱片公司，梅姐第一首作品「心債」就是電視劇主題曲，其後大紅作品「赤的疑惑」「交出我的心」「飛躍舞台」等皆是（Hana第一兩首派台歌反而不是）。以歌論歌，Hana首兩張唱片18首歌沒有一首我不喜歡；反而梅姐的作品當中有部份我是一聽必轉台的。客觀地說，梅姐出道三年首奪勁歌金曲最受歡迎女歌手時，她已唱過「似水流年」及「夢伴」這些經典中的經典級數作品，得獎的「含金量」無可否認是高的，不過我相信當時也有人會說她江湖地位不夠吧。
最後想講講其他頒獎禮的認受性（BTW，新城頒獎禮Hana有一曲得獎），近年叱咤算是比較有代表性，不過也有網民數這個獎（及商台）多年以來的「罪狀」。其中我最想講的是商台95年的（中文）原創歌運動，連中文歌壇泰山北斗黃霑叔也曾作出以下評價：

需求忽然增加，求過於供，水準就會低降。香港市場狹小，創作人才本來就不多，市面上忽然每年需要，多於平時一兩倍，歌曲水準自然難以保持。其實，創作是不需要鼓勵的。有創作天賦的人，自然有不能遏止的創作衝動，非滿足了之後不會停下來。作品量多，很可能，質就降低。在短期效果看，市場需要，忽然激增，創作人自然收入頓升。但作品多了而水準下降，時日一長，就會變成惡性循環，令顧客停止享用不夠水平產品。以今天的香港市場狀況，回顧當天，本文作者敢說，95、96 年商台的「原創歌運動」，頗有椻苗助長之嫌，後果接近「好心作壞事」。

無論怎樣，作為一個樂迷及業餘獨立音樂人，好的音樂我一定繼續支持，不會受來自那間唱片公司影響。

Guitar jazz

After several years of immersing myself in saxophone music, all of a sudden several new releases by jazz guitarists in the 2nd half of the year caught my attention. That included:

• Alex Skolnick Trio - Conundrum: I have been singing praises for this guitarist for years. He is one of the very few guitarist who shines in both metal and jazz. This is his trio's first new release in years though and it certainly didn't disappoint. As usual, he blended jazz with different genre including classical music (Erik Satie's Gymnopedie) and country (Culture Shock) Django Tango obviously pays tribute to the late great Django Reinhardt.
• John Scofields - Combo 66: the last album with him that I listen to was the one from the "supergroup" Hudson, which I moderately enjoyed (not a big fan of the vocals) I think I will stick with the ones with him as leader, like this Combo 66.
• Al Di Meola - Opus: Spotify doesn't have all of his albums. Too bad as I am very interested to hear his interpretation of the Beatles' music, recorded in the legendary Abbey road studio! So I am very surprised that two of his 2018 releases are available. Opus features his signature sound which has elements from Flamenco and other world music. Check out the tracks where he collaborated with keyboardist Kemuel Roig.

Classical New Release of Castelnuovo-Tedesco

Thanks to Spotify, this is the very first time I heard of the composer Castelnuovo-Tedesco, who migrated from Italy to the States because of his race and became a prolific Hollywood film composer. What I found most interesting though, is that the Naxos recording of his Concerto No.3 only features a violin and a piano. I googled quite a bit and there isn't much info (or other recordings) about this piece and seems to be written for 2 instruments intentionally.

Classical New Release by Vienna Reed Quintet

One thing I like about Spotify is the curated playlists, for example, new releases from different genres. I came across this album named "4 Woods + 1 Sax play Rameau, Mozart and Ravel" which is very interesting. Indeed, the music sounds fresh with this unusual instrumentation.
Check out their bio.

Magazine Jazz

This is another post in my recent "Blah blah Jazz" series. Every now and then I would visit the local bookstore and read some magazines, which almost always include Jazz Times because of its extensive review section. I listened to the following albums reviewed in the latest issue:
Still Dreaming: this is the name of the album as well as the name of the group led by saxophonist Joshua Redman, who paid homage to his dad Dewey Redman,  and Ornette Coleman, who has collaborated with the senior Redman. The review implied this album sounded more conventional than expected. Well, to me, it has just the right amount of "un"conventionalism. Or I might as well listen to Dewey and Ornette themselves!
Adam O’Farrill’s Stranger Days - El Maquech: As the grandson of Chico O'Farrill, you would expect to hear Afro-Cuban jazz. It certainly has those elements but there are more! I recommend reading NPR's interview with him regarding this excellent album.
Dave Holland - Uncharted Territory: this is a collaboration of the versatile bassist with avant garde saxophonist Evan Parker. If your last name is Parker and you play jazz, you'd better play something that break away from the tradition, like Charlie Parker and William Parker did! (I did manage to find one album with both William and Evan) The first track is totally misleading in the sense that it sounded "conventional" but I can reassure you the rest is not. Very challenging material.
JD Allen - Love Stone: I have read magazine articles mentioning this saxophonist before but never really listen to his music. However, with Liberty Ellman on guitar I figure you can't go wrong. I expected something adventurous to be honest but this album is all about standard ballads, played in a refreshing way though.
Buster Williams - Audacity: finally, an album that I expected to be conventional and sounded conventional indeed. This is straight ahead jazz at its finest. You can't go wrong if you are a fan of jazz.

San Franciscan Jazz

This is sort of part 3 of my latest jazz "series" and this time I will write about my "backyard" SF. As a SF Bay Area resident for over 20 years, my go-to place for jazz is still Yoshi's in Oakland. For SF, the go-to place has gone through many many changes: it was Jazz At Pearl's near China town years ago. I went a few times around 2001 before it went out of business. Then it's Yoshi' SF, which also went out of business because of the high cost. Savanna Jazz got a lot of good reviews but it had to leave the expensive SF for San Carlos, which is further down South on the Peninsula. Fortunately the SFJAZZ center seems to be here to stay 'coz I think that's the type of institution the social elites like to associate with. I did "discover" a few new venues this year:

Black Cat: this club has definitely booked quite a few quality acts and with many show times weekly. The most recent one I saw was the group Beekman from New York, which has just released a new album named Vol 3: live in San Francisco (so I count this as San Franciscan Jazz :P)
Even though I heard good music both times I went, I need to give it thumbs down: for people going there just for music like me, the only place to sit is at the bar, which has limited number of seats, one-side facing the stage and the other side back to the stage! Besides, most people went there to talk to their friends, with jazz as the background. I actually don't understand the rationale. If you just want jazz as background for chit-chat, you don't NEED to go to a jazz club. And the neighborhood is not exactly where I like to hang out at my age :P

Mr. Tipple's Recording Studio: to be honest, one big reason I wanna go was the name. It just sounds too interesting. After being there once though, I can tell you the place has absolutely nothing to do with a recording studio. It's just a bar with live music. I do have to give it thumbs up for allowing people like me (drink only and didn't reserve table for dinner) to sit close to the stage. Yes, most people there are talkers too but at least I can still hear the music, performed by this fine jazz quartet:

The sax and piano solo were impressive. They definitely have their own sound.

Bird and Beckett Books and Records: this is a relatively small local store in the SF Glen Park area. No cover charge (suggested donation is $10) and no talker! Everyone in the audience truly appreciate the music of Adam Gay Quintet last time I went.

French Jazz

After writing about Croatian jazz, of course the next topic is French jazz! I actually experienced it in person at the Duc Des Lombards jazz club in Paris years ago. And we all know quite a few American jazz musicians spent a lot of time in France. The most famous one is probably Dexter Gordon. However, I wanted to listen to French musicians and found these two saxophonists:

This one by Richard Raux sounds more traditional
while this one by Celine Bonacina sounds more modern
And here is a good article about French Jazz on Vinyl.