| 词条 | Martial Solal |
| 释义 |
| name = Martial Solal | image = Solal.jpg | landscape =yes | caption =Martial Solal performs with his Newdecaband in 2006. | background = non_vocal_instrumentalist | birth_date = {{Birth date and age|1927|8|23}} | birth_place = Algiers, French Algeria | genre = Jazz, classical | occupation = Musician, composer | instrument = Piano | years_active =1950s–present | label = | associated_acts = }} Martial Solal (born August 23, 1927) is a French jazz pianist and composer. BiographySolal was born in Algiers, North Africa, to French parents. He was persuaded to study clarinet, saxophone, and piano by his mother, who was an opera singer. He was kicked out of school in 1942 because of his father's Jewish ancestry. Algeria was a French colony, and the Vichy government in France was following Nazi policies. Solal educated himself after having studied classical music in school. He imitated music he heard on the radio. When he was fifteen, he performed publicly for U.S. Army audiences.[1] After settling in Paris in 1950, he began working with Django Reinhardt and expatriates from the United States such as Sidney Bechet and Don Byas. He formed a quartet (occasionally also leading a big band) in the late 1950s, although he had been recording as a leader since 1953. Solal then began composing film music, eventually providing over twenty scores. He composed music for Jean-Luc Godard's debut feature film Breathless (À bout de souffle, 1960). In 1963 he made a much admired appearance at the Newport Jazz Festival in Rhode Island; the Newport '63 album purporting to be a recording of this gig is actually a studio recreation. At this time, his trio included bassist Guy Pedersen and drummer Daniel Humair. From 1968 he performed and recorded with Lee Konitz in Europe and the U.S. In its January 2011 issue, The Gruppen Review published a 12-page interview in which Solal discusses his work as an eternal "researcher in jazz". Style{{Original research section|date=March 2014}}Solal's concept can be associated with a deep understanding of the fact that music is a language and each performance is a conversation between the participants. The pianist has a lot of ideas to share and each of them is delegated the appropriate amount of time so that the audience can only glimpse its depth. His sequences can easily be translated into sentences, as opposed to more classical approaches where ideas are explored through whole paragraphs or entire chapters. This makes the Solal experience an intense and lively listen which captures the attention thoroughly. One could go so far as to say that even the normal silences and pauses during a verbal "normal" conversation between people are interpreted as tension points in Solal's musical improvisation. His jazz approach is considered as "brilliant, unique and intellectual"[2] He is quoted saying regarding his technique: "The best you play you have to make people believe that it's very easy, even when it's very difficult. If you look to have trouble with the technique, it is no good. You must play the most difficult thing like this: (Martial Solal interviewed by Larry Appelbaum just before his concert at the Library of Congress, April 11, 2011). Selective Discography
References1. ^{{cite web |last1=arwulf |first1=arwulf |title=Martial Solal |url=https://www.allmusic.com/artist/martial-solal-mn0000310170/biography |website=AllMusic |accessdate=12 November 2018}} 2. ^88 notes pour piano solo, Jean-Pierre Thiollet, Neva Editions, 2015, p. 357. {{ISBN|978-2-3505-5192-0}} 3. ^{{cite web |title=Martial Solal {{!}} Album Discography {{!}} AllMusic |url=https://www.allmusic.com/artist/martial-solal-mn0000310170/discography |website=AllMusic |accessdate=12 November 2018}}
External links
14 : 1927 births|Living people|French film score composers|Male film score composers|French jazz pianists|French male pianists|French Jews|French people of Algerian-Jewish descent|Pausa Records artists|People from Algiers|Post-bop pianists|21st-century pianists|21st-century male musicians|Male jazz musicians |
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