Author: Judy Xiong

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夏威夷骊歌 ALOHA RADIO HAWAII

A Musical Journey to the Golden Age of Hawaiian Song

ALOHA RADIO HAWAII

夏威夷骊歌

侧耳倾听 由海洋和群山所孕育的悠扬歌谣

与椰林沙滩相伴 享受一段无忧无虑的音乐假期

Aloha, or as we would say in China “阿罗哈”, is a greeting filled with warmth and kindness. A single word, yet expressing many sentences full of affection. Aloha is an essence of being: it is love, peace, compassion, and a mutual understanding of respect. Aloha means living in harmony with the people and land around you with mercy, sympathy, grace, and kindness. 

Close your eyes and think of the most beautiful place on earth, and almost, as if by instinct, you think of endless beaches, bathed in warm sunlight under cloudless skies, with the sweet strains of melody playing in the distance, welcoming you to a tropical paradise. The turquoise water laps at the golden beach, as coconut trees swaying in the sweet-salty zephyrs greet the boats, their sails flapping in the ocean breeze as they near the shore. Despite their beauty, these are rugged islands, formed from still-active volcanoes. Everywhere you look there is casual, sensual beauty: In a nearby field, a thousand colorful flowers are blooming; a girl in a straw skirt dances cheerfully a native hula. This is the paradise that people from around the world have been told to dream of: far away, in the middle of the Pacific Ocean, the Hawaiian Islands.

Music has always played a central role within the Native Hawaiian culture. From the beginning, the mele or chant was the musical means for Native Hawaiians to pass on their stories of their gods and traditions. When the voyagers from the western lands arrived in the 19th century, a new era of multi-ethnic communication began, combining American and European musical instruments, song forms and harmony with the rich Polynesian aboriginal singing culture. The most characteristic instruments identified with Hawaiian music are the ukulele and slack-key guitar, both of which were introduced by the Portuguese, but topping the list must rank the Hawaiian Steel Guitar. Developed in Hawaii by Joseph Kekuku in the late 19th and early 20th centuries, the Hawaiian Steel Guitar was played horizontally on the lap, with a bar or slide called a steel (generally made of metal, but also of glass or other materials) allowing the player to play wide sweeps and slides across the entire range of the instrument. 

The popularization of Hawaiian music around the world began in the last quarter of the 19th century, mainly through the publishing of many of the songs of Queen Liliʻuokalani in the United States – Aloha ʻOe (Farewell to Thee) was her most famous song. The popularity of this island music brought about a new type of musical fusion called hapa haole, literally, “half-foreign.” Soon, the whole country was swaying to hapa haole tunes, some with made-up “Hawaiian” words by Tin Pan Alley songwriters. In time, many viewed hapa haole music as inauthentic, a tool of the tourism industry, but after the Hawaiian Renaissance of the 1970s brought the language indigenous back to life, hapa haole music experienced its own revival and today is recognized for allowing Hawai‘i’s music and composers to flourish even when the language seemed lost.

The thirteen songs included on this album were hand selected by Rhymoi’s producer Ye Yuchuan, from the classics of traditional Hawaiian and Hapa haole music dating from the late 19th century to the middle of the 20th century. It is the story of the Hawaiian Islands in sound, a musical memory that blends native Hawaiian and American popular cultures. Joining Ye Yunchuan on this project is Dave Way, a four-time Grammy award-winning sound engineer. Dave, a legend in the recording industry, has worked with artists such as Michael Jackson, Whitney Houston, and many others. Together the two men assembled a group of veteran U.S. Hawaiian musicians, who brought with them dozens of priceless antique guitars of various shapes and sounds, as well as other vintage instruments. And finally, the sweet, intoxicating voice of Asian-Polynesian singer Tavita Te’o. This extraordinary team delivered utterly authentic performances of Golden Age of Hawaiian song in full glorious retro- nostalgic sound!

It is Ye Yunchuan’s hope that these joyful songs can transport listeners to experience the beauty of these tropical islands, and appreciate the openness and tolerance of the multi-ethnic Hawaiian society that inspired this music to be created. With an open heart and a simple and optimistic attitude towards life, this is music that invites all of us to sit back and enjoy a carefree musical holiday.

Aloha，中文写作“阿罗哈”。一声洋溢着热情善意，令人心旷神怡的问候。一句满载浓情，使人缠绵悱恻的道别。温暖而悠长的语韵，如同一串质朴动人的乐音，将人带入热带岛屿的瑰丽风景中。碧绿的海水，环抱着金黄的沙滩。暖风中摇曳的椰树，迎接即将靠岸的帆船。崎岖起伏的火山中，炽热的岩浆仍在翻滚燃烧。炫彩花朵绽放的原野上，身着草裙的少女跳着欢快奔放的舞蹈。这就是令世人心向往之的甜蜜天堂，坐落在太平洋中心的夏威夷群岛。

银色的浪花，拍击堤岸旁的礁岩，歌颂海洋的传奇。绮丽的飞鸟，越过青翠的群山，啼唱土地的悠远记忆。当来自西方大陆的远航者，在这处世外桃源中，开启多民族交流的新时代，源于美国本土和欧洲的乐器及和声风格，与波利尼西亚原住民吟唱文化的结合，最终孕育出洋溢着快乐柔情的夏威夷传统音乐。由清凉质朴的吉他弦音，和充满活力的打击乐所演绎的悠扬曲调，搭配舒缓惬意的歌声，和温暖纯真的笑容，让驻足聆听的旅人，体会到难忘的感动。随着这种热情而浪漫的歌谣，在美国本土激荡热潮，热爱夏威夷风情的音乐人们，又创造了隐含着种族文化融和之意的Hapa Haole音乐。在不同时代加入的流行乐元素，则让Hapa Haole闪烁着彩虹般的色泽，将夏威夷音乐的迷人情调传遍了整个世界。

本专辑所收录的十三首乐曲，便是从传统夏威夷音乐和Hapa haole音乐的经典曲目中精选而成，其创作时间大约自十九世纪晚期，延续至二十世纪中叶，讲述了夏威夷群岛与美国本土文化交融的音乐记忆。瑞鸣音乐制作人叶云川与音乐总监Dave Way，希望将这些愉悦明快的乐歌，如同芬芳四溢的美丽花环般献上，令聆听者能够在领略热带岛屿风光的同时，也感受到多族裔共居的夏威夷人开放包容的胸怀，以及朴素乐观的生活态度，享受一段无忧无虑的音乐假期。

制作人叶云川和曾经四次获得格莱美奖的录音师Dave Way，在洛杉矶由世界影坛巨星查理.卓别林创立，曾经为迈克尔·杰克逊、惠特尼·休斯顿等国际歌坛巨星录音的传奇工作室中，共同完成了专辑的录制工作。一群美国老牌夏威夷音乐乐手，凭借着形态、音色各异的十几把古董吉他，以及其他伴奏乐器，配合着波利尼西亚裔歌唱家Tavita Te’o浓情醇厚的嗓音，以新颖而精湛的演奏技巧，呈现出充满复古怀旧氛围的夏威夷金曲。曲调活泼俏皮的《国王们》，致敬夏威夷群岛古老而悠远的历史。由钢弦吉他演绎的《檀香山进行曲》，展示着这座商业中心城市在20世纪初的繁荣景象。举世闻名的《夏威夷骊歌》，则怀着无限的柔情，抒发对故土的热爱，与聆听者分享一份缱绻的回忆。

来自太平洋的浪涛，涌上洒满阳光的沙滩，仿佛低喃着纯挚的祝福。沉醉如梦的海风，拂去旅人的疲惫，献上扶桑花的甜香。在这充满自由动感与质朴欢乐的歌声中，邂逅一个明艳如彩虹的音乐世界，邂逅心中期待的那个热情浪漫的夏威夷。

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荒城之月 Moon over City Ruins

荒城之月

Moon over City Ruins

源自大唐盛世的古朴音韵  传统民谣超越时空的历史幻想
Chinese “minyue” and Japanese “hogaku” meet in a glorious series of improvisations, uniting two of the great Asian folk music traditions, performed by a dream team of today’s top traditional artists!

以音乐讲述慷慨苍凉的历史故事 和悠远壮阔的乡野传奇
制作人叶云川深入千年传统 在历史长河中自由幻想
中日演奏家以高超技艺即兴合奏 经久流传的两国传统民谣
尺八 古筝 二胡 太鼓 倾情演绎 动人肺腑 极具张力
日本资深录音师小岛幸雄匠心精湛 于东京1200座音乐厅同期录制
中国录音大师李大康功力超凡 混音再现古典艺术韵味悠长
倾听东瀛列岛的古朴乐声 感受中华文化亘古不息的生命张力

前言: 

红烛的焰光，点亮深沉的夜色。觥筹交错的喧嚣，展开欢愉的绘卷。通透铿锵的琵琶，在人影绰绰的屏风后鸣响。空灵悠长的尺八，在摇曳的素雅纱帐中飘荡。饱满洒脱的鼓声，响彻雕栏玉砌的楼阁，在迢遥而氤氲的时空深处，激扬历史的浪涛。千年时光转瞬即逝，唯有那抑扬顿挫的胡琴，徘徊在幽寂的圆月下，为一座荒凉倾颓的城池，倾诉繁华褪尽的沧桑。

1400年前的大唐长安，威名远震，四海朝拜。政治、经济昌荣的盛景，促生了丰茂多姿的音乐文化。金碧堂皇的宫阙里，恢弘的乐舞技惊四座，曼妙的笙歌绕梁不绝。这壮阔绚烂的景象，令远道而来的日本遣唐使团为之震撼，并使他们在此后的二百年间，以汹涌巨浪中飘摇沉浮的木船，载去了众多起源于华夏大地的乐器与音律，让盛唐的音乐文化，在东瀛之国落地生根。高耸的天守之上，对酒当歌的英豪，倾听着承袭自大明宫的乐声，写下雄浑悲怆的诗句。空寂寥落的禅院里，修行者踏着飘散的落樱，吹奏那渡海而来的清雅曲调。湍急而明澈的河川旁，牧牛的少年，在异国乐器的伴奏下，传唱着不知名的歌谣。

音乐制作人叶云川，幼时大量阅读中国古代文学，由此产生了对传统文化的深刻理解和热爱。2018年，他曾凭借专辑《明月映敦煌》那华美的乐音，带人重新审视唐朝与敦煌的厚重历史。如今，他再度怀着对中国古代音乐繁荣盛景的深情怀念，前往作为唐文化最重要承继者之一的日本，为那座湮灭在时光深处的长安城，找寻现世尚存的几缕古朴音韵。此次召集中日优秀青年演奏家，于东京都神奈川县一座能够容纳1200名观众的音乐厅，以中华国乐与日本邦乐的即兴合奏，演绎经典民谣。尺八、琵琶、三味线、太鼓等特色乐器，皆于唐代东渡沧海传入日本，体现了日本自古而今对中华国乐传统的保存、承继和发扬。由旅日音乐家毛丫演奏的古筝、北京演奏家杨雪的二胡等中国乐器，与尺八演奏家长谷川将山、太鼓演奏家糸原昌史的日本乐器之间，展开了精彩纷呈的音乐对话，令绵延千年的两国文化交流历程重现眼前。

此张专辑，被叶云川誉为十五年来最具戏剧性和张力的作品。他十三岁时曾以吉他弹奏过，并为之深深动容的日本名曲《荒城之月》，成为了整张专辑的灵魂。乐曲兼具枯山水般充满哲思的空寂意境，以及仿佛火山喷发式的情感起伏，带着慷慨苍凉的历史情愁，展开如同黑泽明史诗电影般恢弘壮阔的历史幻想。《最上川舟歌》、《拉网小调》等日本传统民谣，以优美舒缓的旋律，带人领略东瀛列岛的清新景色。《黄杨扁担》、《落水天》等中国小调的加入，则为专辑古朴幽远的氛围，增添了几分蓬勃的乡野生活趣致，令人回味无穷。日本资深录音师小岛幸雄匠心精湛，运用顶级模拟系统捕捉音乐每个细节，中国录音大师李大康功力超凡，混音再现古代中国古典艺术韵味悠长。

此刻，请跟随音乐，怀着赤诚的心愿，穿越千年历史幻想，跨越那一座交融文化与情感的桥梁，在东渡千年的盛唐余音中，追溯故土音乐流传的渊源脉络，领会古代中国兼收并蓄的精神气韵。在辽阔的苍穹下，在空寂的风中，仰望那一轮恒久不变的圆月，回顾沧桑人世间的荣枯盛衰，悲欢离合。以此跌宕乐声，唤醒一个繁华若梦的音乐盛世。

听尺八的悠远空寂 听古筝的铿锵抑扬 听长安城的笙歌乐舞 觥筹交错的喧嚣

听纷扬的樱雨 听绚烂唯美的生存与寂灭 听东渡千年的盛唐余音 在历史的浪潮中回荡

Foreword:

Crimson candlelight illuminates the dark night. The silence is broken by the cacophony of chatter and cups hastily placed on tables only to be lifted away immediately. The gentle song of a biwa somehow breaks through all of it, as if on a different plane. The ethereal shakuhachi weaves its song from beneath a gauze canopy. The thunderous roar of the drums resonate throughout the floors of the inn, penetrating deep into its corners, making way for the wave of memories that ensue. Even after more than a millennium, the huqin still plays its aching song, the moon above accompanying it through dynasty after dynasty, long after the city has fallen to ruin and disappeared from living memory. 

The Tang capital Chang’an, now known as Xi’an, was during its heyday in 14th century one of the world’s most populous cities, and an impressive cosmopolitan center of economy, politics and culture, which gave rise to incredible breakthroughs in music. Throughout the beautiful, gilded palace halls song and dance were always to be heard, and were a treat for anyone fortunate enough to witness them first-hand. This splendid musical array soon caught the attention of the kentoushi (Japanese ambassadors to Tang China), who for the next two centuries would study these arts, and bring their knowledge of them, along with musical scores and instruments, across the raging sea back to their homeland, thus perpetuating the culture of the Tang dynasty there. These bold songs from Daming Palace could be heard throughout the castles of Japan, during festive banquets and solemn ceremonies, inspiring many poets to leave behind works full of vigor and sadness. Even in the Zen gardens of Buddhist temples, as the monks strolled past the falling cherry blossom petals, they would play melodies originating from the Great Tang. And on the banks of rivers in the countryside, young cowherd boys would hum tunes, not knowing how far they travelled to reach them.

Rhymoi Music producer Ye Yunchuan, has been fascinated by classical Chinese music since his childhood, and has cultivated a deep understanding and affection for it. In 2018, his album Moonlight glow over Dunhuang,  showed the world the marvel that is the rich history of Dunhuang Grottoes and the Tang Dynasty. Here, he once again is driven by his deep admiration for Chinese classical music to bring the listener to the most important curator of Tang culture—Japan. Though the original palaces of Chang’an no longer stand, its spirit still lives on. Mr. Ye has called upon a group of talented musicians from both Japan and China, and in a 1200-seat music hall in Kanagawa, reveals a stunning portrayal of Chinese folk music and Japanese hogaku, featuring improvised performances of classic pieces. The shakuhachi, Japanese flute, Japanese biwa and taiko drums all originated from Tang China, and today Japan is the world’s greatest purveyor of extant classical songs from this era. The Outstanding young instrumentalist Mao Ya plays the guzheng and other Chinese instruments, to shape the dialogue with a range of Japanese instruments for an incredible cultural exchange spanning millennia.

This album is the most theatrical and tightly crafted work of Ye Yunchuan’s professional career spanning more than 15 years. The classic Japanese song Moon over City Ruins, which he played onstage on the guitar at the age of 13 left a deep impression on him that would shape his future life and career, serves as the main inspiration for the album. The song creates a philosophical atmosphere of a desolate and lonesome landscape. Cascades and crescendos punctuate the score, tranporting the listener to a time when life was simpler yet still full of tumult, as captured so elegantly by the films of Kurosawa Akira. Traditional Japanese folk songs like Song of the Mogami River and Net Pulling Canzonet(Solan Bushi), with their gentle, relaxing melodies, evoke the rustic countryside of feudal Japan. With the addition of Chinese folk songs, like Boxwood Carrying Pole and Rainy Day, the grassroots, rustic feel is given additional flavor and authenticity.

Ye Yunchuan has once again created a bridge spanning cultures, drawn together through a spectrum of emotions, taking you to the homeland of hogaku, and even further back to where it originated, giving you a small yet satisfying taste of this incredible era of musical history. Amidst the myriad stars, high above the ever restless clouds, sits the cool, translucent moon, always silent yet always watching, as generation after generation takes the world we live in in a new direction. Such a patient and loyal guardian deserves a musical homage of epic proportions.