謝明諺

Firry Path

棕與灰

雲端之上

那是一個下雨的午後

杉林小徑

曼陀羅花

光年

二上，一下

離開

綠洲

林理惠 Mars Lin

鄭順聰

舒伯特聯篇歌曲《冬之旅》是古典音樂的瑰寶，人聲獨唱加一台鋼琴，以24首歌曲訴説一名失戀者的旅程。

《冬之旅──台語爵士浪遊》計畫分兩階段：第一階段由謝明諺以爵士四重奏重新編曲，林理惠演唱鄭順聰的台語詩詞，配合音樂劇場《末日前的冬之旅》，2025年4月在台北表演藝術中心公演。導演鴻鴻以舞台敍事將之構築成文明與社會進展的寓言，鄭順聰則參考威廉・穆勒的原始詩作及舒伯特的音樂靈感，加上舞台意象和台灣當代情境，創作出全新歌詞。

第二階段則在演出後調整詞曲，獨立錄製發行。跨越將近兩百年的時空和文化隔閡，開創出台語爵士的特殊情味。

Schubert’s song cycle Winterreise is a masterpiece of classical music. Comprising 24 songs for solo voice and piano, it tells the poignant story of a heartbroken man’s journey.
Tang-tsi-lí: A Jazz Winterreise, presents a fresh reinterpretation of this classic. Arranged for jazz quartet by Minyen Hsieh, featuring Taiwanese lyrics by Tēnn Sūn-tshong and singing by Mars Lin, the work was performed as part of the music theatre production Journey into the Apocalypse at the Taipei Performing Arts Center in April 2025. Directed by Hung Hung, the production reimagines Winterreise as an allegory of civilization and social progress. Drawing inspiration from Wilhelm Müller’s original poems and Schubert’s music, Tēnn infused the lyrics with contemporary Taiwanese imagery and themes.
This recording, based on the live performance, transcends nearly two centuries of time and cultural distance, creating a distinctive and evocative blend of Taiwanese jazz.

冬之旅──臺語爵士浪遊Tang-tsi-lí_A Jazz Winterreise sung in Taiwanese

Resa Club

李宇宸

Masterpiece

Our Waning Love

鸿鸿

爵士詩靈魂夜 A Soulful Night of Jazz Poetry

一張精純的爵士樂，也是文學的立體展演！

台灣第一張爵士詩專輯。由爵士音樂家謝明諺與詩人鴻鴻聯手製作，邀請八位年齡、背景不同的詩人──分別來自台灣、香港、澳門的鄭烱明、陳家帶、鴻鴻、廖偉棠、曹疏影、袁紹珊、崔香蘭及林理惠，以截然相異的聲音及語言、腔調，讀出自己的詩行，樂手則以即興的聲響回應。謝明諺率領銜的傑出樂手，包括鋼琴曾增譯、貝斯池田欣彌、鼓組林偉中，以及客串的長號鄧亦峻，呈現了一個既平行又交織的狀態：音樂讓詩的意象更加有穿透力，詩也讓音樂更能帶聽者進入情節。加上林理惠深富磁性的戲劇性嗓音，或變化聲線，吟唱經典曲目，或以靈動的聲音穿梭。就像所有爵士樂的演奏一樣，在電光石火間完成，一期一會，無可複製。

專輯的一面是詩與爵士樂傳統的對話，包括獻給蓋希文、比莉・哈樂黛、查特・貝克、約翰・佐恩的詩，鴻鴻也以〈台北藍調〉為台灣歷史最悠久的爵士酒吧留下印記。另一面則是對台灣歷史與當代生存的探索：林理惠的〈請問芳名〉將妮娜・西蒙的黑人女權歌曲〈四女性〉填上新詞，紀念四位白色恐怖的受難女性；鄭烱明〈傾聽〉則是為美麗島事件所寫的召喚。

文化評論者包德樂（Dean Anthony Brink）教授評道：「這張專輯反映出爵士樂的主題與節奏，同時也體現了歌手、詩人和演奏者的精采互動……可説完全捕捉到了現場戲劇表演的興奮張力。」

Jazz is relatively unknown in Taiwan, which lends a freshness to these fusions of poetry and acoustic instrumental accompaniment, which each opens to the other. Jazz signifies a wide variety of styles, with its very roots bound up in the pentatonic transgressions of the blues, Gospel’s telltale call and response, and a muted channeling of the energy in ragtime. Its forms of expression range from jazz standards with a big band of lounge sound, to stride piano and scatting and even electronic experimentation. The original renditions and variations of jazz classics and recent edgy work are each accompanied by a poetry read in one of multiple Chinese dialects—Taiwanese, Cantonese and Mandarin—and some English. What I like most about this particular collaboration of poets and musicians is that the voices of the singer and the poetry create a parallel movement that sometimes overlaps and often engages in dialogic interaction—notable intense with the saxophone on “Listening,” by Cheng Chiung-ming. Mars Lin’s “Should You Ask My Name” is a powerful reinterpretation of Nina Simone’s bitter pathbreaking black civil rights song “Four Women,” which outlined various harmful stereotypes of African American women, suggesting an empathetic personae-embodiment-and-deconstruction of the suffering of black women in being pegged in these stereotypes that perpetuate unkind racializing attitudes that objectify divisions among us. The four women in Lin’s poem are victims of Taiwan’s White Terror, the climatic final one being the famous case of Ting Yao-tiao (丁窈窕 1927-1956), who was killed by firing squad merely due a personal vendetta and false accusations of being a communist. Reflexively folding into jazz themes and rhythms, Chen Chia-tai’s “Rhapsody on Gershwin” touches on motifs in jazz while embodying some of the interplay of singer, poet, and players. Hung Hung’s “John Zorn, Taipei Impromptu, 1995” is one of the more dramatic, minimalist and experimental on the album, even humorous at times in its impeccably edited syncopation of instruments punctuated by verses. It even captures the excitement and intensity of his live theatrical performances. 

——Dean Anthony Brink, Professor, National Yang Ming Chiao Tung University
Author of Poetics and Justice in America, Japan, and Taiwan: Configuring Change and Entitlement (2021).

爵士詩靈魂夜 A Soulful Night of Jazz Poetry

Leo37

Flowstrong

In a time where opinion rules supreme, this is a reminder to be yourself. 
No matter what.

Makes No Difference (Explicit)

這是薩克斯風手明諺的第二張實體個⼈人專輯。也是在即興音樂裡相當罕見的錄音室作品。
樂手除了了有台灣即興鋼琴第⼀一把交椅李世揚之外，最特別的是日本國寶，高齡75歲的世界知名即興爵士鼓/二胡 豐住芳三郎Sabu Toyozumi。三人自2013年年起就有陸續在台灣和日本有合作演出，於是在2017第二屆台灣國際即興音樂節的巡迴空檔之中，他們花了了一個下午的時間在錄音室裡，姿意揮灑。
而從3小時的錄音素材中，精選出了50分鐘的音樂。即興音樂講究一氣呵成，以及捕捉演奏當下獨一無二的吉光片羽。所以通常出版的都是現場錄音，但是較不易有好的音質水準。本張專輯就是以希望能完整捕捉到樂器所有細節聲響，加上完善的混音後製來來完成一張最高規格的即興音樂作品。
而水滋養萬物，一切都需要它才能發生延續，在自然中以各式各樣的型態出現，無限循環。所以「上善若水」意指的是：即興音樂有如水一般的純粹。是去除掉多餘的定義之後，回歸到的聲音本質探索。隨著標題帶來聽覺上的指引，加上音樂中三人多變的樂器音色還有許多妙不可言的互動，這是一張充滿故事性的音樂專輯。用50分鐘來沈澱自我的心靈，讓形色萬變的音符如水的各種型態將聽覺固化，讓身體液化，進而汽化聆聽中的神識，若水而至善。


上善若水

https://image.joox.com/JOOXcover/0/fc08ce67bdeef3d4/300

Firry Path

歌曲列表

更多謝明諺

Firry Path

歌曲列表

更多 謝明諺

更多謝明諺