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Adrian Rollini M M C – a Klasszikus

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Adrian Rollini M M C – a Klasszikus M������� M������ C������� a klasszikus jazz stílusjegyei Korb Attila Attila, a Bohémekhez egykor 13 évesen kerülõ harsonás, kornettes, zongorista, énekes a magyar jazzpaletta egyik legtehetségesebb figurája. Segítségével érthetõbbé válik a klasszikus jazz és más füllel hallgat majd zenét az olvasó. Kirkeby több néven is eladta a Ramblerst Nem tudom kikerülni, hogy megemlítsem, Adrian Rollini különbözõ lemezkiadóknak. Little illetve egyfajta párhuzamot vonjak Rollini Ramblers, Golden Gate Orchestra, Palace és a kiváló fekete tenor szaxofonos Cole- Garden Orchestra, Goofus Five az man Hawkins között. Hawkinst a swing- utóbbi Rollini egy különleges hangszerérõl szaxofonozás atyjaként tartják számon, s kapta a nevét. A goofus egy szaxofon- nevével bizonyára többen találkoztak, mint formájú melódika, ami harmónikaszerûen Rolliniéval. Mégis jogos a mostanában több hangot is meg tud szólaltatni. Érdemes többször felmerülõ vita, miszerint Rollini meghallgatni az 1927-es -t, játékmódja semmivel nem volt kisebb amiben Rollini elõször fütyül, majd goofus- volumenû, mint Hawkinsé. A korábbi Louis on is játszik. Természetesen basszusszaxo- Armstrong-cikkekben már említettem, hogy fonozást is hallhatunk, a szám elsõ felében Hawkins ebben az idõben (1923-tól) virtuózan egészít bele a szólóhangszerek Fletcher Henderson zenekarának tagja volt. játékába, teljesen kilépve a basszusfunk- Arról talán nem volt szó, hogy Hawkins cióból. Az utolsó tutti közepén egy 4 üte- nem csak tenorszaxofonozott, de klariné- mes breakben fültanúi lehetünk Rollini tozott és basszusszaxofonozott is a Hender- Adrian Rollini (1903-1956) Bix könnyed, de mégis folyamatosan zakatoló, son-zenekarban. Az 1925-bõl való Beiderbecke-hez hasonlóan zongo- swingelõ játékmódjának. De menjünk még ban képet kaphatunk Hawkins rista csodagyerekként kezdte karrierjét (sõt visszább az idõben, hiszen 1927 már bõven basszusszaxofonozásáról. A bevezetõben születésük éve is megegyezik). Négyévesen a mester fénykorát jelenti, stílusa ekkorra és a kódában is övé a fõszerep úgy érzem, a kis Adrian 15 perces zongorakoncertet már szinte teljesen kialakult. hogy itt inkább gegként használják a adott, ahol az egyik mûsorszám hangszert. De a szám közepén van egy rövid volt. Ezt a számot sokkal ké- A California Ramblers korai felvételei közé szóló, ami valóban jazzes, mintha tenor- sõbb swing triójával is repertoárra tûzte tartozik pl. az (1924) vagy szaxofonozna, csak egy oktávval lentebb ( ) de ne ugorjunk eny- a (1925). Az It Had To Be You szól! A teljes képhez hozzátartozik, hogy nyire elõre, hiszen Rollini elsõsorban, mint foxtrott tempóban szólal meg, a basszus- bár Hawkins egy évvel fiatalabb volt a hot jazz korszak emblematikus basszus- szaxofon végig dó-szó szerûen (ún. inga- Rollininél, de õ már kilencévesen elkezdett szaxofonosa szerzett magának örök hírne- basszussal) kísér nagyon kevés a bármine- szaxofonozni, tehát úgy gondolom, hogy vet. mû variáns, illetve az egész zenekar tüt-tü- inkább elõnyben volt Rollinivel szemben. rüt-tü-sen játszik. A szám vége felé végül Ezek mellett ne felejtsük el, hogy az eddig A mester és hangszere találkozását homály hallhatunk egy rövid Rollini-szólót (mind- szóba került példák korai felvételek, mind- fedi, annyit tudunk, hogy a California össze 10 ütem). Természetesen a késõbb két zenész egyénisége rengeteget csiszoló- Ramblers tagjaként (1921/22-tõl) használta kiforrott egyéniség már itt is hallható. A dott még. Rollini oldaláról hallgassuk a elsõ ízben a hangszert, illetve ebben a basszusszaxofon szóló ritmikusságát, illetve Goofus Five 1926-os felvételén csapatban fejlesztette ki egyéni játékmódját. a lüktetést emelném itt ki, ami a többi vicces hallani, hogy a Armstrong Hot Five Van, aki szerint a Ramblers menedzsere (Ed zenész játékában hallhatóan nem volt még Kirkeby, aki Fats Waller menedzsere is volt) benne ekkor. A trombita és a harsona ösztönözte Rollinit a hangszeren való inkább áriáznak, mintsem hogy lüktessenek játékra egyfajta opcióként a tuba helyette- a basszusszaxofon játékában ezzel szem- sítésére. Mások szerint a zenekar bendzsósa ben már benne van az a pulzálás, amibõl említette elõször a hangszert Rollininek, nem is olyan késõbb kialakult a hot jazz miután meglátta egy kirakatban Arthur illetve a swing. Míg az It Had To Be You Rollini (Adrian öccse, aki késõbb a Benny szólóiban (Rolliniében is) gyakorlatilag Goodman big banddel is játszott) így emlék- dallamvariánsokat hallhatunk, a Milenberg szik vissza: Egyszer csak hazajött egy Joysban minden szólista jobban el mer basszusszaxofonnal, elkezdett gyakorolni és (vagy inkább már el tud?) térni a dallamtól. két héten belül már felvételre játszott vele. A basszusszaxofon itt is az utolsó a szóló- sorrendben. A kezdõ break megdöbbentõ! Mintha tudatni akarná a hallgatóval, hogy itt most valami teljesen más fog történni, mint a korábbi szólókban. Eltolt szinkópák és blues hang mintha picit össze is zavarná a zenekar ritmus szekcióját. Majd egy korabeli európai romantikus sláger idézet Jules Massenet Thais címû operájából. Itt már jobban megjelenik a Rollini játékára úgy jellemzõ elegáns könnyedség is ebbõl a felvételen már kicsit korábban a trombita- szóló breakjében is hallható egy kis ízelítõ. a basszusszaxofon és a hegedû milyen Buddy Rich és Bobby Hacket. 1939-bõl kiegyenlítetten szólnak egymás mellett. A való a . Aprólékosan kidolgo- hegedû téma után egy egész periódus zott zenei produkcióról van itt is szó Rollini-szólót hallhatunk ritkaság, hogy Rollini a vibrafon mellett a harangjátékot is ilyen hosszú szólót találjunk életmûvében. megszólaltatja. Õ volt az egyedüli, aki ilyen- A szám utolsó tuttijában gyakorlatilag a re vállalkozott és hallhatóan ezen a lehe- basszusszaxofon basszusfunkciója egyre tetlennek tûnõ ütõhangszeren is swingel, jobban eltûnik teljesen egyenrangúvá válik ráadásul nem is akárhogyan. a hegedûvel. Utolsó felvételeit az 50-es évek elején Fred Elizade angol zenekarvezetõ invitálá- triójával készítette. Ide tartozik például a sára több California Ramblers taggal együtt , ami mintha egy Bix megemlé- Rollini 1927-ben csatlakozik az Elizade- kezés lenne a jellegzetes Bix Gang zárással. zenekarhoz. 1928-ban ezzel a csapattal kerül Élete hátralévõ néhány évében visszavonult lemezre saját szerzeménye, a . A szám és hoteltulajdonos lett, szabad idejét a címe ez esetben nem a dixielandre utal, sporthorgászatnak szentelte hanem Rollini feleségére, akit Dixie-nek becézett. A bevezetõ és a melódia bemuta- tása is basszusszaxofonon történik. Rollini játéka itt szinte balladaszerû. A hangvételrõl a puha, levegõs, szuszogós szaxofonhangra utaló subtone kifejezés jut eszembe. Nagyon változatos a hangszerelés is. A klarinétszólót például következetesen magas történelmi felvételére (az elsõ scat-éneklés) tartott hangokkal kíséri, a trombitaszólónál hogy és milyen hamar reagáltak a fehér rendes basszuskíséretet hallunk, majd a zenészek. Nem fogunk hallani egy hang zongora alatt egy mozgékonyabb arranzs basszusszaxofon szólót sem, viszont a (background) szól, amit a klarinét és a 24-es It Had To Be You-hoz képest itt már basszusszaxofon együtt játszik. A záró tutti sokkal mozgékonyabb, más dimenzióban hatásos forte dinamikával ritmikusan indul mozog a basszus Rollini játéka dominán- (ez újdonság az eddig elhangzottakhoz san meghatározza az egész zenekar lükteté- képest), majd hirtelen lehalkul. Ezután egy sét. Ez igazi hot jazz. De ha picit tovább- Bixet idézõ zenei felkiáltással ismét hangos lépünk, 27-bõl a címû lesz. Az ezt követõ 4 ütemes basszus- Ramblers felvételen már igazi swingelést szaxofon szóló megint csak visszafogott hallhatunk! Illetve ebbõl az idõszakból hangvételû amikor elõször hallgattam a valók a szintén etalon számba menõ Bix felvételt, úgy éreztem, hogy ide valahogy ez Beiderbecke and His Gang felvételek is. kevés több hang kellene de a harmadik BOHÉM HÍRADÓ Ezekkel szemben Hawkins a Henderson hallgatásra megvilágosodtam, miszerint ez zenekar 26-os c. felvételén már egy pontosan kitervelt szerkezet és nem a szintén rendesen swingel (de ez már szám megfejtésérõl (túlbonyolításáról) A Kecskemét Jazz Orchestra (Korb Attila tenorszaxofon). Természetesen lehet még szól, csak szimplán egy szerenád a szeretett vezetésével) június 22-én megnyerte a cseh- pro/kontra érveket felhozni ez ügyben, kedveshez. A kódában megint basszus- országi Èeská Kamenicében rendezett 14. természetesen vannak Hawkins- illetve szaxofont hallunk, csak gitárkísérettel Nemzetközi Big Band Versenyt. Gratulá- Rollini-pártiak is bõven J. Úgy érzem, hogy nagyon érzékenyen fúj, mintha minden lunk! ennek a zenészek körében divatos vitának egyes hangot külön-külön megszeretgetne. az alapja a bõrszín. A feketék mindig is azt Ha a Singin The Blues elõrevetítette a A zenekar Blue Chip címû CD-je 3.500 állították, hogy õk az igazi jazz-zenészek a jazzballada stílusát, akkor ez a felvétel is J Ft-os áron kapható a Bohém Webáruház- fehérek csak utánozták õket. A fehérek ban: http://bohem.shoprenter.hu/ emellett egy teljesen más európai zenekul- A 30-as években Rollini sok más kortársá- túrát emeltek be az afroamerikai zenébe, hoz hasonlóan big bandet alakított. Itt egyre Az együttes legközelebb Szulák Andreával amit természetesen nem is sokkal késõbb többet vibrafonozott, a basszusszaxofon hallható Dánszentmiklóson 2013. Július már a feketék utánoztak egyre jobban háttérbe szorult. Úgy ítélte 27-én este 7 órakor. meg, hogy a basszusszaxofon nem tud Rollini a California Ramblersen és leány- lépést tartani a swingkorszak sodrásával zenekarain kívül természetesen más (illetve
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