Введение
Джеймс Марселлус Артур "Санни" Мюррей (21 сентября 1936 – 7 декабря 2017) – американский джазовый барабанщик, один из пионеров свободного джазового стиля игры на барабанах.
James Marcellus Arthur "Sunny" Murray (September 21, 1936 – December 7, 2017) was an American musician, and was one of the pioneers of the free jazz style of drumming.
Стиль
Мюррей был одним из первых, кто отказался от традиционной роли барабанщика как хранителя времени в пользу чисто текстурной игры. Вал Вильмер писала:
Murray's aim was to free the soloist completely from the restrictions of time, and to do this he set up a continual hailstorm of percussion. His concept relied heavily on continuous ringing stick work on the edge of the cymbals, an irregular staccato barrage on the snare, spasmodic bass drum punctuation and constant, but not metronomic, use of the sock cymbal (hi hat). He played with his mouth open, emitting an incessant wailing which blended into the overall percussion backdrop of shifting pulses [H]is playing often seems to bear little relation to what the soloist is doing. What he did do, though, was to lay down a shimmering tapestry behind the soloist, enabling him to move wherever he wanted." Concerning Murray's tenure with Albert Ayler, John Litweiler wrote: "Sunny Murray and Albert Ayler did not merely break through bar lines, they abolished them altogether." Amiri Baraka described Murray's playing as follows:
Watching Sonny play, as he swoops and floats, hovers, lunges, above and into the drums, it is immediate his body ness, his physicality in the music. Not just as a drum beater but as a conductor of energies, directing them this way and that way. Just scraping a cymbal this time, smashing it the next. Both feet straight out with the bass drums. His rolls and bombs the result of body mined spirit feel. He wants "natural sounds," natural rhythms. The drum as a reactor and manifestor of energies coursing through and pouring out of his body. Rhythm as occurrence. As natural emphasis
You hear him moaning behind his instrument, with his other beautiful instrument. His voice. The sound of feeling. The moan, a ragged body spasm sound, like some kind of heavy stringed instrument, lifting all the other sounds into prayers. Author Norman C. Weinstein wrote:
[Murray] radically rethinks the role of the drum kit, sees the kit as a kinetic sculpture The drums are a sculpture he dances around, giving the drum kit a numinosity like African drums utilized for ritual purposes. By dancing about the drums, not merely alertly sitting before them, he maximizes the force of his contact with all surfaces, not just skins but metal and wood as well. The sheer physicality of his approach assures a broader spectrum of timbres than those usually achieved by players utilizing conventional posture. Murray's dance in fast motion creates the illusion of several drummers performing simultaneously, a stuttering strobe effect akin to how Duchamp caused his nude to trip the light fantastic down a staircase The richness of Murray's cymbal crashes and vocals is beautifully reinforced by his drum attacks, particularly his sonorous tattoos on the bass drum. He has an astute gift for playing off extreme tonal contrasts, high pitched cymbals ringing in counterpoint to earth moaning bass drum tones He creates a sense of time which might be appreciated by a tradition minded African, not time measured by Timex, not shaped by a cymbal's metronomic insistences, but time as the poet Blake understood it, found in the pulsation of an artery. Murray acknowledged the influence of Hermann Helmholtz in developing his unique approach to the drum kit, stating that "Helmholtz gave me the technique I needed." Murray described his own musical goals as follows: "I work for natural sounds rather than trying to sound like drums. Sometimes I try to sound like car motors or the continuous crackling of glass not just the sound of drums but the sound of the crashing of cars and the upheaval of a volcano and the thunder of the skies." At one point he attempted to design a different kind of drum set that would be "more in touch with the human voice in terms of humming and screaming and laughing and crying."
Целью Мюррея было полностью освободить солиста от ограничений времени, и для этого он создал непрерывную грозу ударных. Его концепция в значительной степени опиралась на непрерывную игру палочками по краю тарелок, нерегулярный стаккато-залп по малому барабану, спорадические акценты на бас-барабане и постоянное, но не метрономическое, использование хай-хэта. Он играл с открытым ртом, издавая непрерывный стон, который смешивался с общим ударным фоном меняющихся импульсов. [H] Его игра часто кажется мало связанной с тем, что делает солист. Однако он создавал мерцающее полотно за солистом, позволяя ему двигаться куда угодно. Относительно работы Мюррея с Альбертом Эйлером, Джон Литвейлер писал: "Санни Мюррей и Альберт Эйлер не просто преодолевали тактовые черты, они упраздняли их полностью". Амири Барака описал игру Мюррея следующим образом:
Murray's aim was to free the soloist completely from the restrictions of time, and to do this he set up a continual hailstorm of percussion. His concept relied heavily on continuous ringing stick work on the edge of the cymbals, an irregular staccato barrage on the snare, spasmodic bass drum punctuation and constant, but not metronomic, use of the sock cymbal (hi hat). He played with his mouth open, emitting an incessant wailing which blended into the overall percussion backdrop of shifting pulses [H]is playing often seems to bear little relation to what the soloist is doing. What he did do, though, was to lay down a shimmering tapestry behind the soloist, enabling him to move wherever he wanted." Concerning Murray's tenure with Albert Ayler, John Litweiler wrote: "Sunny Murray and Albert Ayler did not merely break through bar lines, they abolished them altogether." Amiri Baraka described Murray's playing as follows:
Watching Sonny play, as he swoops and floats, hovers, lunges, above and into the drums, it is immediate his body ness, his physicality in the music. Not just as a drum beater but as a conductor of energies, directing them this way and that way. Just scraping a cymbal this time, smashing it the next. Both feet straight out with the bass drums. His rolls and bombs the result of body mined spirit feel. He wants "natural sounds," natural rhythms. The drum as a reactor and manifestor of energies coursing through and pouring out of his body. Rhythm as occurrence. As natural emphasis
You hear him moaning behind his instrument, with his other beautiful instrument. His voice. The sound of feeling. The moan, a ragged body spasm sound, like some kind of heavy stringed instrument, lifting all the other sounds into prayers. Author Norman C. Weinstein wrote:
[Murray] radically rethinks the role of the drum kit, sees the kit as a kinetic sculpture The drums are a sculpture he dances around, giving the drum kit a numinosity like African drums utilized for ritual purposes. By dancing about the drums, not merely alertly sitting before them, he maximizes the force of his contact with all surfaces, not just skins but metal and wood as well. The sheer physicality of his approach assures a broader spectrum of timbres than those usually achieved by players utilizing conventional posture. Murray's dance in fast motion creates the illusion of several drummers performing simultaneously, a stuttering strobe effect akin to how Duchamp caused his nude to trip the light fantastic down a staircase The richness of Murray's cymbal crashes and vocals is beautifully reinforced by his drum attacks, particularly his sonorous tattoos on the bass drum. He has an astute gift for playing off extreme tonal contrasts, high pitched cymbals ringing in counterpoint to earth moaning bass drum tones He creates a sense of time which might be appreciated by a tradition minded African, not time measured by Timex, not shaped by a cymbal's metronomic insistences, but time as the poet Blake understood it, found in the pulsation of an artery. Murray acknowledged the influence of Hermann Helmholtz in developing his unique approach to the drum kit, stating that "Helmholtz gave me the technique I needed." Murray described his own musical goals as follows: "I work for natural sounds rather than trying to sound like drums. Sometimes I try to sound like car motors or the continuous crackling of glass not just the sound of drums but the sound of the crashing of cars and the upheaval of a volcano and the thunder of the skies." At one point he attempted to design a different kind of drum set that would be "more in touch with the human voice in terms of humming and screaming and laughing and crying."
Наблюдая за игрой Сонни, когда он стремительно взмывает, парит, зависает, бросается над и внутрь барабанов, сразу ощущаешь его телесность, его физическое присутствие в музыке. Он не просто барабанщик, а проводник энергий, направляющий их то в одну, то в другую сторону. То лишь скребет по тарелке, то обрушивает на нее удар. Обе ноги вытянуты к бас-барабанам. Его роллы и мощные удары – результат душевной энергии, воплощенной в теле. Он стремится к "естественным звукам", естественным ритмам. Барабан – как реактор и манифестатор энергий, проходящих сквозь и вырывающихся из его тела. Ритм как событие. Как естественный акцент. Ты слышишь его стоны за инструментом, вместе с его другим прекрасным инструментом – голосом. Звук чувства. Стон, рваный спазм тела, подобный звуку тяжелого струнного инструмента, возносящий все остальные звуки в молитву. Автор Норман Вайнштейн писал:
Murray's aim was to free the soloist completely from the restrictions of time, and to do this he set up a continual hailstorm of percussion. His concept relied heavily on continuous ringing stick work on the edge of the cymbals, an irregular staccato barrage on the snare, spasmodic bass drum punctuation and constant, but not metronomic, use of the sock cymbal (hi hat). He played with his mouth open, emitting an incessant wailing which blended into the overall percussion backdrop of shifting pulses [H]is playing often seems to bear little relation to what the soloist is doing. What he did do, though, was to lay down a shimmering tapestry behind the soloist, enabling him to move wherever he wanted." Concerning Murray's tenure with Albert Ayler, John Litweiler wrote: "Sunny Murray and Albert Ayler did not merely break through bar lines, they abolished them altogether." Amiri Baraka described Murray's playing as follows:
Watching Sonny play, as he swoops and floats, hovers, lunges, above and into the drums, it is immediate his body ness, his physicality in the music. Not just as a drum beater but as a conductor of energies, directing them this way and that way. Just scraping a cymbal this time, smashing it the next. Both feet straight out with the bass drums. His rolls and bombs the result of body mined spirit feel. He wants "natural sounds," natural rhythms. The drum as a reactor and manifestor of energies coursing through and pouring out of his body. Rhythm as occurrence. As natural emphasis
You hear him moaning behind his instrument, with his other beautiful instrument. His voice. The sound of feeling. The moan, a ragged body spasm sound, like some kind of heavy stringed instrument, lifting all the other sounds into prayers. Author Norman C. Weinstein wrote:
[Murray] radically rethinks the role of the drum kit, sees the kit as a kinetic sculpture The drums are a sculpture he dances around, giving the drum kit a numinosity like African drums utilized for ritual purposes. By dancing about the drums, not merely alertly sitting before them, he maximizes the force of his contact with all surfaces, not just skins but metal and wood as well. The sheer physicality of his approach assures a broader spectrum of timbres than those usually achieved by players utilizing conventional posture. Murray's dance in fast motion creates the illusion of several drummers performing simultaneously, a stuttering strobe effect akin to how Duchamp caused his nude to trip the light fantastic down a staircase The richness of Murray's cymbal crashes and vocals is beautifully reinforced by his drum attacks, particularly his sonorous tattoos on the bass drum. He has an astute gift for playing off extreme tonal contrasts, high pitched cymbals ringing in counterpoint to earth moaning bass drum tones He creates a sense of time which might be appreciated by a tradition minded African, not time measured by Timex, not shaped by a cymbal's metronomic insistences, but time as the poet Blake understood it, found in the pulsation of an artery. Murray acknowledged the influence of Hermann Helmholtz in developing his unique approach to the drum kit, stating that "Helmholtz gave me the technique I needed." Murray described his own musical goals as follows: "I work for natural sounds rather than trying to sound like drums. Sometimes I try to sound like car motors or the continuous crackling of glass not just the sound of drums but the sound of the crashing of cars and the upheaval of a volcano and the thunder of the skies." At one point he attempted to design a different kind of drum set that would be "more in touch with the human voice in terms of humming and screaming and laughing and crying."
[Мюррей] радикально переосмысливает роль барабанной установки, видя в ней кинетическую скульптуру. Барабаны – это скульптура, вокруг которой он танцует, наделяя установку нуминозностью, как африканские барабаны, используемые в ритуальных целях. Танцуя вокруг барабанов, а не просто сидя перед ними, он максимально использует силу контакта со всеми поверхностями – не только с барабанными перепонками, но и с металлом и деревом. Сама физичность его подхода обеспечивает более широкий спектр тембров, чем те, которые обычно достигаются игроками, использующими традиционную позу. Быстрый танец Мюррея создает иллюзию нескольких барабанщиков, играющих одновременно, стробоскопический эффект, напоминающий то, как Дюшан заставил свою обнаженную модель спуститься по лестнице. Богатство тарелочных крещендо и вокализа Мюррея прекрасно усиливается его ударами, особенно его звучными татуировками на бас-барабане. Он обладает тонким даром играть на крайних тональных контрастах, высокие тарелки звучат в контрапункте с глухими стонами бас-барабана. Он создает ощущение времени, которое может оценить африканец, приверженный традициям, – не время, измеряемое Timex, не сформированное метрономической настойчивостью тарелок, а время, как понимал его поэт Блейк, найденное в пульсации артерии. Мюррей признал влияние Германа Гельмгольца в разработке своего уникального подхода к барабанной установке, заявив: "Гельмгольц дал мне необходимую технику". Мюррей описал свои музыкальные цели следующим образом: "Я стремлюсь к естественным звукам, а не к тому, чтобы звучать как барабаны. Иногда я пытаюсь имитировать звук автомобильных двигателей или непрерывный треск стекла – не просто звук барабанов, а звук разбивающихся машин, извержения вулкана и раскатов грома". В какой-то момент он попытался разработать другой тип барабанной установки, которая "была бы больше связана с человеческим голосом в плане жужжания, крика, смеха и плача".
Murray's aim was to free the soloist completely from the restrictions of time, and to do this he set up a continual hailstorm of percussion. His concept relied heavily on continuous ringing stick work on the edge of the cymbals, an irregular staccato barrage on the snare, spasmodic bass drum punctuation and constant, but not metronomic, use of the sock cymbal (hi hat). He played with his mouth open, emitting an incessant wailing which blended into the overall percussion backdrop of shifting pulses [H]is playing often seems to bear little relation to what the soloist is doing. What he did do, though, was to lay down a shimmering tapestry behind the soloist, enabling him to move wherever he wanted." Concerning Murray's tenure with Albert Ayler, John Litweiler wrote: "Sunny Murray and Albert Ayler did not merely break through bar lines, they abolished them altogether." Amiri Baraka described Murray's playing as follows:
Watching Sonny play, as he swoops and floats, hovers, lunges, above and into the drums, it is immediate his body ness, his physicality in the music. Not just as a drum beater but as a conductor of energies, directing them this way and that way. Just scraping a cymbal this time, smashing it the next. Both feet straight out with the bass drums. His rolls and bombs the result of body mined spirit feel. He wants "natural sounds," natural rhythms. The drum as a reactor and manifestor of energies coursing through and pouring out of his body. Rhythm as occurrence. As natural emphasis
You hear him moaning behind his instrument, with his other beautiful instrument. His voice. The sound of feeling. The moan, a ragged body spasm sound, like some kind of heavy stringed instrument, lifting all the other sounds into prayers. Author Norman C. Weinstein wrote:
[Murray] radically rethinks the role of the drum kit, sees the kit as a kinetic sculpture The drums are a sculpture he dances around, giving the drum kit a numinosity like African drums utilized for ritual purposes. By dancing about the drums, not merely alertly sitting before them, he maximizes the force of his contact with all surfaces, not just skins but metal and wood as well. The sheer physicality of his approach assures a broader spectrum of timbres than those usually achieved by players utilizing conventional posture. Murray's dance in fast motion creates the illusion of several drummers performing simultaneously, a stuttering strobe effect akin to how Duchamp caused his nude to trip the light fantastic down a staircase The richness of Murray's cymbal crashes and vocals is beautifully reinforced by his drum attacks, particularly his sonorous tattoos on the bass drum. He has an astute gift for playing off extreme tonal contrasts, high pitched cymbals ringing in counterpoint to earth moaning bass drum tones He creates a sense of time which might be appreciated by a tradition minded African, not time measured by Timex, not shaped by a cymbal's metronomic insistences, but time as the poet Blake understood it, found in the pulsation of an artery. Murray acknowledged the influence of Hermann Helmholtz in developing his unique approach to the drum kit, stating that "Helmholtz gave me the technique I needed." Murray described his own musical goals as follows: "I work for natural sounds rather than trying to sound like drums. Sometimes I try to sound like car motors or the continuous crackling of glass not just the sound of drums but the sound of the crashing of cars and the upheaval of a volcano and the thunder of the skies." At one point he attempted to design a different kind of drum set that would be "more in touch with the human voice in terms of humming and screaming and laughing and crying."