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 刚刚得了Grammy的这个小姑娘真厉害!所以说音乐是要有天分的 |
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三中心
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作者：三中心 在 海归茶馆 发贴, 来自【海归网】 http://www.haiguinet.com
Best-Kept Secret Now Has a Grammy
https://www.nytimes.com/2011/02/15/arts/music/15grammy.html?_r=1&ref=music
Who is Esperanza Spalding?
That was the question being asked by many music fans after she won best new artist at the 53rd annual Grammy Awards on Sunday night. A similar question was undoubtedly on the minds of the two nominees widely regarded as favorites: Justin Bieber, the -pop juggernaut, and Drake, the slyly melancholy hip-hop star.
In any case, Ms. Spalding, a petite, precociously gifted 26-year-old bassist and singer originally from Portland, Ore., was among the evening’s major surprises, and the first jazz musician to receive the award in decades, if not ever.
“Thank you to the Academy for even nominating me in this category,” she said just after reaching the podium, as if hurrying to acknowledge the unlikeliness of her win. Within moments her name had become a trending topic on Twitter, mainly for reasons of curiosity — or spite. (Don’t mess with Mr. Bieber’s fans.) More than 18 hours later — an eternity, as these things go — the trend was still holding strong.
Her win was reminiscent, in some respects, of Herbie Hancock’s unexpected triumph at the 2008 Grammys, when “River: The Joni Letters” (Verve) won album of the year. Then as now there was startled disbelief outside the precincts of jazz, and giddy jubilation within. And, then as now, there was reflexive talk of real music prevailing, righteously. But Mr. Hancock is Mr. Hancock: not just a brilliant pianist but a grand elder and crossover pioneer, just the sort of guy to earn the loyalty of voters in the Recording Academy. (On Sunday his self-released 2010 album, “The Imagine Project,” earned him two awards, for best improvised jazz solo and best pop collaboration with vocals.)
Ms. Spalding is something else: a charismatic whirlwind proudly hailed, for a while now, as some kind of vital infusion for jazz. Certainly she arrived with great reserves of talent and composure, becoming, at 20, one of the youngest musicians hired to teach at the Berklee College of Music, where she had just earned her degree. She released an auspicious instrumental debut, “Junjo” on the Ayva label in 2006, and an unfocused but appealing vocal follow-up, “Esperanza,” on Heads Up International in 2008. The album she released last year, also on Heads Up, is “Chamber Music Society,” which presents her lissome, light-gauge voice in a sparer light, framed by quietly sparkling arrangements. It’s a good album, though it probably didn’t deserve a Grammy nomination, and didn’t get one. Which raises another question: Not who, but why Ms. Spalding, and why now?
The guidelines for best new artist, which have long been a point of contention, revolve around some perception of cultural relevance. And Ms. Spalding’s relevance has never really been rooted in her output as a recording artist. As an authoritative upright bassist who also nimbly sings, she has no exact peer or precedent: the particulars of her talent are unique. And in the interval between “Esperanza” and “Chamber Music Society,” she has wowed David Letterman, appeared in a Banana Republic ad campaign and performed by request at the White House and the Nobel Peace Prize ceremony. She was tapped by Prince for a tribute at the BET Awards, and then as his opener at Madison Square Garden.
Her success is only tangential to jazz, really, even though jazz percolates through her music, along with Stevie Wonder-ish soul and Brazilian pop and much else besides. Some of her most enthusiastic admirers come from the more jazz-literate, bohemian wing of hip-hop: on Monday the Roots’ drummer-bandleader, Questlove, took to Twitter to complain that a best-kept secret had been revealed. Her next album is being produced by Q-Tip.
With hindsight, the calculus behind her win seems deceptively clear, though the Recording Academy doesn’t divulge vote tallies. Drake and Mr. Bieber — both Canadians, both accessing a current of R&B — may have split one segment of the voting body. The other two nominees, Florence & the Machine and Mumford & Sons — both English, both slightly throwback in their appeal — may have split another. More important, though, was the marvel of Ms. Spalding’s effervescent prowess as a musician and a singer. Virtuosity has always played well with Grammy voters, and so has the comforting vision of a bright young artist upholding established ideals of quality.
In that sense Ms. Spalding might not be the Grammy heir to Mr. Hancock so much as a successor of sorts to Norah Jones, who took home five awards in 2003, including best new artist and album of the year. Ms. Jones has since become part of the Grammy gentry, as she demonstrated on Sunday night, singing a winsome “Jolene” in tribute to Dolly Parton, with guitar and vocal accompaniment from Keith Urban and John Mayer.
Similarly, during a preshow Webcast on Sunday — the part of the Grammys in which most of the awards are bestowed, with the genial efficiency of a church raffle — Ms. Spalding served as host, alongside her fellow vocalist Bobby McFerrin. They opened the ceremony with a version of Eddie Harris’s “Freedom Jazz Dance,” a crossover jazz tune, and went on to accept dozens of awards on behalf of their absentee recipients. “The podium accepts,” she said again and again, smiling demurely, and perhaps testing out the feeling of winning.
作者：三中心 在 海归茶馆 发贴, 来自【海归网】 http://www.haiguinet.com
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 刚刚得了Grammy的这个小姑娘真厉害!所以说音乐是要有天分的 -- 三中心 - (5445 Byte) 2011-2-15 周二, 22:06 (2598 reads)
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