小简介
《巴黎 德州》、《终结暴力》和《乐士浮生录》的电影音乐创作者Ry Cooder是温德斯的长期合作伙伴，他的乐声每每成为主角的化身，适切地传达出影片的中心主题。
本名Ryland Peter Cooder的Ry Cooder一九四七年三月十五日生于洛杉矶，是摇滚乐的先驱之一。他从孩提时代就开始学吉他，并拜师Rev. Gary Davis研习传统音乐技巧，十七岁即为蓝调歌手Jackie DeShannon伴奏。一九六五年，他和Taj Mahal、Spirit和鼓手Ed Cassidy合组Rising Sons乐团，但这个前途看好的团体却因为专辑被取消发行而解散，这时Cooder跟制作Terry Melcher接头，Melcher雇用他参与几次录音，其中包括Paul Revere and the Raiders等。Cooder非常喜爱和Captain Beefheart and his Magic Band合作的那段短暂但充实的时光，他那首与众不同的作品收录在该团的首张专辑《Safe as Milk》中，但Cooder舍弃了稳固的长期饭票，婉拒了该团的盛邀，反而选择了继续在录音室的客串工作，之后陆续为Randy Newman、Little Feat、Van Dyke Parks、Performance及电影《Candy》伴奏。Cooder也曾参与滚石合唱团的专辑《Let It Bleed》的录制，甚至被认为有可能取代Brian Jones，只是后来跟Keith Richard为了单曲'Honky Tonk Woman'的桥段的着作权发生冲突而作罢。
Cooder的首张专辑令人印象相当深刻，带有Lead Belly,、Sleepy John Estes及Blind Willie Johnson的风格，可说是美国的缩影，已成为他的正字商标。第二张专辑《Into the Purple Valley》则为他树立了更完整的音乐形式，并为大家引见了阵容坚强且相处愉快的长期合作伙伴Jim Keltner 及Jim Dickinson，与之前的作品相形之下，所挑选的部分单曲将编曲方式原始呈现，成为Cooder的最佳专辑之一。
忧伤孤独的《Boomer's Story》是Cooder早期的三部曲之一。一九七四年愉快的《Paradise and Lunch》发行，他的自信在雷鬼风的'It's All Over Now'及柔软的'Ditty Wa Ditty'中表露无疑，自此确立了他在乐坛的重要地位。
深受三○年代热门歌曲的吸引，Cooder往后的创作风格都较为温和。《Chicken Skin Music》由于有Flaco Jiminez及Gabby Pahuini的参与，整张专辑揉合了Tex-Mex及夏威夷音乐形式，搭以Cooder天衣无缝的演奏，构成一张散发悲悯气息的作品。和Jiminez的合作持续至现场演奏专辑《Showtime》，之后Cooder决定脱离这个工作模式，并推出《Jazz》这张专辑以表敬意，令人好奇的是这张作品是向旧爵士乐礼赞，制作精良，但Cooder并不满意，且在后来不承认这张作品。
Cooder接着以《Bop Till You Drop》投向主流音乐的怀抱，这张以摇滚乐为根基的奔放、节奏强烈的作品使人联想到Little Feat，并有灵魂歌手Chaka Khan友情客串，整张专辑满布城市R&B风调，收录有'Little Sister'、 'Go Home Girl'及'Don't Mess up a Good Thing'等。随后的《Borderline》Cooder沿袭了相似的手法，而在下一张《The Slide Area》又重施故技，至此疲乏感表露无遗，这种公开捞钱手法和Cooder的原声带作品形成强烈对比──《The Long Riders》、《Paris, Texas》及《Crossroads》中保有相当多Cooder早期作品的冒险精神，这些友善、富饶的作品让他得以肆意发挥想象。
在《The Slide Area》推出五年后，《Get Rhythm》发行，这张专辑让Cooder又重回以摇滚乐为根基的目标。Cooder这位具创造力又深谋远虑的艺术家融合了商业和民俗风格，加以熟稔的技巧，使得他在乐坛获得全面的成功，而他的这些成就亦令众人心服口服。
九二年，Cooder和Nick Lowe、Jim Keltner及John Hiatt以Little Village为团名录制专辑并举行演奏；九三年，他和V. M. Bhatt完美演出了《A Meeting by the River》；九四年又和Ali Farka Toure录制了《Talking Timbuktu》。九七年，他为温德斯的《Buena Vista Social Club》担任电影音乐制作。
by Steve Huey
Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooders chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere & the Raiders. During his subsequent career as a session musician, Cooders trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe as Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance.
Cooder made his debut as a solo artist in 1970 with a self-titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow-up, Into the Purple Valley, introduced longtime cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomers Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major-label album to be recorded digitally. In the early 80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs worth of highlights from Cooders film work.
In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatts Bring the Family, to form Little Village, which toured and recorded one album. Cooder next turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooders next project, a duet album with renowned African guitarist Ali Farka Touré titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording.
His next world crossover would become one of the most popular musical rediscoveries of the 20th century. In 1997 Cooder traveled to Cuba to produce and play with a group of son musicians who had little exposure outside of their homeland. The resulting album, Buena Vista Social Club, was a platinum-selling international success that made stars of Compay Segundo, Ibrahim Ferrer, and Rubén González and earned Cooder another Grammy. He continued to work on projects with his Buena Vista bandmates, including a collaboration with Manuel Galbán in 2003 titled Mambo Sinuendo. His other work in the 2000s included sessions with James Taylor, Aaron Neville, Warren Zevon, and Spanish diva Luz Casal. In 2005 Cooder released Chavez Ravine, his first solo album since 1987s Get Rhythm. The intriguing My Name Is Buddy followed in 2007.
《巴黎 德州》、《终结暴力》和《乐士浮生录》的电影音乐创作者Ry Cooder是温德斯的长期合作伙伴，他的乐声每每成为主角的化身，适切地传达出影片的中心主题。
本名Ryland Peter Cooder的Ry Cooder一九四七年三月十五日生于洛杉矶，是摇滚乐的先驱之一。他从孩提时代就开始学吉他，并拜师Rev. Gary Davis研习传统音乐技巧，十七岁即为蓝调歌手Jackie DeShannon伴奏。一九六五年，他和Taj Mahal、Spirit和鼓手Ed Cassidy合组Rising Sons乐团，但这个前途看好的团体却因为专辑被取消发行而解散，这时Cooder跟制作Terry Melcher接头，Melcher雇用他参与几次录音，其中包括Paul Revere and the Raiders等。Cooder非常喜爱和Captain Beefheart and his Magic Band合作的那段短暂但充实的时光，他那首与众不同的作品收录在该团的首张专辑《Safe as Milk》中，但Cooder舍弃了稳固的长期饭票，婉拒了该团的盛邀，反而选择了继续在录音室的客串工作，之后陆续为Randy Newman、Little Feat、Van Dyke Parks、Performance及电影《Candy》伴奏。Cooder也曾参与滚石合唱团的专辑《Let It Bleed》的录制，甚至被认为有可能取代Brian Jones，只是后来跟Keith Richard为了单曲'Honky Tonk Woman'的桥段的着作权发生冲突而作罢。
Cooder的首张专辑令人印象相当深刻，带有Lead Belly,、Sleepy John Estes及Blind Willie Johnson的风格，可说是美国的缩影，已成为他的正字商标。第二张专辑《Into the Purple Valley》则为他树立了更完整的音乐形式，并为大家引见了阵容坚强且相处愉快的长期合作伙伴Jim Keltner 及Jim Dickinson，与之前的作品相形之下，所挑选的部分单曲将编曲方式原始呈现，成为Cooder的最佳专辑之一。
忧伤孤独的《Boomer's Story》是Cooder早期的三部曲之一。一九七四年愉快的《Paradise and Lunch》发行，他的自信在雷鬼风的'It's All Over Now'及柔软的'Ditty Wa Ditty'中表露无疑，自此确立了他在乐坛的重要地位。
深受三○年代热门歌曲的吸引，Cooder往后的创作风格都较为温和。《Chicken Skin Music》由于有Flaco Jiminez及Gabby Pahuini的参与，整张专辑揉合了Tex-Mex及夏威夷音乐形式，搭以Cooder天衣无缝的演奏，构成一张散发悲悯气息的作品。和Jiminez的合作持续至现场演奏专辑《Showtime》，之后Cooder决定脱离这个工作模式，并推出《Jazz》这张专辑以表敬意，令人好奇的是这张作品是向旧爵士乐礼赞，制作精良，但Cooder并不满意，且在后来不承认这张作品。
Cooder接着以《Bop Till You Drop》投向主流音乐的怀抱，这张以摇滚乐为根基的奔放、节奏强烈的作品使人联想到Little Feat，并有灵魂歌手Chaka Khan友情客串，整张专辑满布城市R&B风调，收录有'Little Sister'、 'Go Home Girl'及'Don't Mess up a Good Thing'等。随后的《Borderline》Cooder沿袭了相似的手法，而在下一张《The Slide Area》又重施故技，至此疲乏感表露无遗，这种公开捞钱手法和Cooder的原声带作品形成强烈对比──《The Long Riders》、《Paris, Texas》及《Crossroads》中保有相当多Cooder早期作品的冒险精神，这些友善、富饶的作品让他得以肆意发挥想象。
在《The Slide Area》推出五年后，《Get Rhythm》发行，这张专辑让Cooder又重回以摇滚乐为根基的目标。Cooder这位具创造力又深谋远虑的艺术家融合了商业和民俗风格，加以熟稔的技巧，使得他在乐坛获得全面的成功，而他的这些成就亦令众人心服口服。
九二年，Cooder和Nick Lowe、Jim Keltner及John Hiatt以Little Village为团名录制专辑并举行演奏；九三年，他和V. M. Bhatt完美演出了《A Meeting by the River》；九四年又和Ali Farka Toure录制了《Talking Timbuktu》。九七年，他为温德斯的《Buena Vista Social Club》担任电影音乐制作。
by Steve Huey
Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooders chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere & the Raiders. During his subsequent career as a session musician, Cooders trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe as Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance.
Cooder made his debut as a solo artist in 1970 with a self-titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow-up, Into the Purple Valley, introduced longtime cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomers Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major-label album to be recorded digitally. In the early 80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs worth of highlights from Cooders film work.
In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatts Bring the Family, to form Little Village, which toured and recorded one album. Cooder next turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooders next project, a duet album with renowned African guitarist Ali Farka Touré titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording.
His next world crossover would become one of the most popular musical rediscoveries of the 20th century. In 1997 Cooder traveled to Cuba to produce and play with a group of son musicians who had little exposure outside of their homeland. The resulting album, Buena Vista Social Club, was a platinum-selling international success that made stars of Compay Segundo, Ibrahim Ferrer, and Rubén González and earned Cooder another Grammy. He continued to work on projects with his Buena Vista bandmates, including a collaboration with Manuel Galbán in 2003 titled Mambo Sinuendo. His other work in the 2000s included sessions with James Taylor, Aaron Neville, Warren Zevon, and Spanish diva Luz Casal. In 2005 Cooder released Chavez Ravine, his first solo album since 1987s Get Rhythm. The intriguing My Name Is Buddy followed in 2007.
