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Bakalářšká Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Bicí nástroje Jorge Rossy a Jeff Ballard - komparace interpretačních přístupů v rámci Brad Mehldau tria Bakalářská práce Autor práce: Adam Sikora Vedoucí práce: odb. as. Kamil Slezák Oponent práce: MgA. Martin Kleibl Brno 2017 Bibliografický záznam Sikora, Adam. Jorge Rossy a Jeff Ballard - komparace interpretačních přístupů v rámci Brad Mehldau tria [Jorge Rossy and Jeff Ballard - comparison of musical approach in the context of Brad Mehldau's Trio]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra jazzové interpretace, rok 2017. 67 s. Vedoucí diplomové práce odb. as. Kamil Slezák. Anotace Diplomová práce "Jorge Rossy a Jeff Ballard - komparace interpretačních přístupů v rámci Brad Mehldau Tria" pojednává o herních přístupech dvou hráčů v kontextu jednoho hudebního tělesa. Cílem práce je charakterizování herních koncepcí hudebníků spjatých s triem. Zabývá se tak jejich zvukem, stylem hry, filozofií i inspiračními zdroji, kdy je důraz kladen obzvláště na bicí doprovod. Práce obsahuje detailní transkripce a rozbory konkrétních nahrávek Brad Mehldau Tria. Annotation The diploma thesis "Jorge Rossy and Jeff Ballard - Comparison of Musical Approach in the Context of Brad Mehldau's Trio" deals with approach of each drummer (that has been a member of the trio) in the context of this specific musical setting. The main aim of this work is to describe their musical style. It presents their own specific sound, playing style, philosophy and sources of their influences. This work also describes the specifics of accompaniments of Rossy and Ballard. This thesis includes transcriptions and analyses of specific trio recordings. Klíčová slova Jorge Rossy, Jeff Ballard, Brad Mehldau, jazz, trio, bicí nástroje, bicí souprava Keywords Jorge Rossy, Jeff Ballard, Brad Mehldau, jazz, trio, percussion instruments, drum kit, drum set Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 10. května 2017 Adam Sikora Poděkování Na tomto místě bych rád poděkoval odb. as. Kamilu Slezákovi za odborné vedení práce, pomoc, věcné připomínky i neotřelé nápady během realizace této bakalářské práce. Obsah Předmluva .................................................................................... 6 Úvod ............................................................................................. 7 Stav bádání ................................................................................... 8 1. Bradford Alexander Mehldau .................................................... 9 1.1 Život, vývoj, filozofie hry .......................................................................... 9 1.2 Hlavní vlivy ............................................................................................. 16 1.3 Ocenění .................................................................................................... 17 2. Jordi Rossy ............................................................................ 19 2.1 Život, vývoj, filozofie hry a inspirace ..................................................... 19 2.2 Hudební charakteristika ........................................................................ 24 2.3 Styl hry ................................................................................................... 27 3. Jeff Ballard ............................................................................ 29 3.1 Život, vývoj, filozofie hry a inspirace ..................................................... 29 3.2 Hudební charakteristika ........................................................................ 35 3.3 Styl hry ................................................................................................... 36 4. Analýza vybraných nahrávek .................................................. 39 4.1 Blues (Solar, Cheryl) .............................................................................. 39 4.2 Rhythm changes (Anthropology, Brownie Speaks) ...............................41 4.3 Cover verze (Exit Music [for a film], Knives Out) ................................. 44 Závěr .......................................................................................... 46 Použité informační zdroje .......................................................... 47 Seznam příloh ............................................................................ 50 Přílohy ....................................................................................... 51 Předmluva Téma mé bakalářské práce vzniklo, do jisté míry, spontánně během jednoho z bakalářských seminářů vedených Mgr. Janem Přibilem, DiS. V době, kdy bylo nutné odevzdat již smysluplné a realizovatelné téma, jsem tak poměrně automaticky a nenuceně zvolil toto řešení. K hudbě Brada Mehldaua a potažmo i interpretaci jeho spoluhráčů mám totiž až nekritický postoj. V tomto ohledu je tedy pro mne téma práce zároveň blízké ve smyslu zpracování a realizace, ale i výzvou k objektivnímu hodnocení subjektů a nejen k jejich uctívání. Tato práce se vypořádává s aktuální problematikou. To v mnoha případech obnáší jisté riziko budoucí ztráty významu v kontextu vývoje a další profilace umělce/umělců. Nicméně v tomto ohledu vycházím ze zdrojů, které se jeví nadčasově (nebo nadčasovými jsou) a je tedy v podstatě nemožné, aby výsledek byl retrospektivně devalvován. 6 Úvod Brad Mehldau je v současném hudebním světě jednou z nejvýraznějších a nejvlivnějších osobností. Byť není tím hlavním nositelem tématu práce, je nepochybně pojícím prvkem, který dává Jorge Rossyho a Jeffa Ballarda do kontextu. Mehldau, společně se svými hudebními partnery, ovlivňuje celou následující generaci hudebníků. První kapitola, pro logickou stavbu práce, se věnuje právě Mehldauovi. Nalezneme v ní popis jeho hudebních kořenů, průběh jeho uměleckého vývoje, jeho interpretační přístup ke hře na nástroje a jeho umělecké inspirace, které formovaly jeho růst. Jsou zde i specifikována alba, které s Rossym a Ballardem nahrál v triových formacích. Následující dvě kapitoly jsou nosnou konstrukcí této práce. Zařadil jsem je chronologicky, dle působení v Mehldauově triu, v pořadí nejprve Jorge Rossy a posléze Jeff Ballard. Obě kapitoly se částečně věnují vývoji a hudební profilaci jednotlivých bubeníků. Hlavní náplní je pak interpretační přístup (zvuk a instrumentář, obsah hraní, motorika hry), filozofie hry a jejich inspirační zdroje. V těchto kapitolách nedochází k explicitnímu srovnání Rossy vs. Ballard - rozdíly se snažím přednést citlivě a hlavně objektivně. Obecně se stavím spíše kriticky ke způsobu zjevného srovnávání - dle mého názoru hrozí v této metodě nevědecký verdikt podložený subjektivním dojmem. Jejich charakteristiky jsou ale specifikovány dostatečně pro to, aby mohly být vzájemně vedle sebe uvedeny a srovnány. Hlavní metodou použitou k rozklíčování jejich stylů je analýza. Pro tento účel tedy vycházím z audio a video nahrávek (více v kapitole Stav bádání). Poslední kapitola si dává za cíl analyzovat a srovnat konkrétní zvukové snímky. Jelikož jsem nenarazil na pramennou nahrávku, na které by byli vystavení stejné problematice, musím volit prostředky, které dokážou do jisté míry vymezit materiál tak, aby komparace a analýza byla provedena na obdobných základech. Zvolil jsem pro tento účel interpretace skladeb, které jsou formově na základu blues, rhythm changes a nebo jsou cover verzemi soudobých umělců. 7 Stav bádání V tématech, které mají aktuální charakter, je třeba vždy zohlednit nadčasovost dostupných pramenů a literatury. Pro faktografické účely mé bakalářské práce jsem jako nadřazený pramen použil oficiální webové stránky jednotlivých umělců. V případě, že se v údajích vyskytly určité nesrovnalosti, vycházel jsem z právě zmíněných osobních webových stránek jako z určujícího a směrodatného zdroje. Jedná se tedy o stránky: www.bradmehldau.com, www.jorgerossy.com a www.jeffballard.com. Rovnocenným pramenem jsou pro mne - v případě analýz a charakteristik - zvukové a audiovizuální záznamy. U těchto zdrojů používám veškeré v práci uvedené nahrávky. V případě rozboru video nahrávek vycházím z dostupných pramenů ze streamovací stránky www.youtube.com. U videonahrávek používám klíčová slova k vyhledání potřebných informací a pomocí metody indukce usuzuji závěr / závěry. K dostatečnému obrazu hráčského vývoje a filozofie hry jednotlivých umělců, ale také k periodizaci, popisu a k vývoji tria jsem čerpal z rozhovorů, které umělci poskytli. V tomto ohledu bylo množství materiálu zcela dostačující, a proto nebylo potřebné se s umělci kontaktovat osobně. Použil jsem rozhovory (které cituji i ve vlastním textu práce) především z online stránek www.allaboutjazz.com. Velkým zdrojem informací, převážně faktografického typu, byly rovněž publikace a zdroje encyklopedického charakteru. Informace jsem vyhledával v odborném The New Grove Dictionary of Jazz, ve webovém slovníku www.britannica.com, v online katalogu www.allmusic.com. Informace týkající se bubeníků jsem získal i v měsíčníku Modern Drummer magazine. Z vlastní rešerše jsem zjistil, že na mnou zvolené téma není doposud publikována žádná vědecká práce. V českém okruhu není práce týkající se žádného z umělců uvedených v tématu, v měřítku světovém jsou pak práce, které se věnují konkrétním hráčským charakteristikám hry Mehldaua, nicméně pro náplň mé práce nejsou tolik relevantní a jako zdroj jsem je nevyužil. 8 1. Bradford Alexander Mehldau 1.1 život, vývoj, filozofie hry Bradford Alexander Mehldau (zkráceně
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