Tuesday, November 24, 2009
From kennischun's xanga: 神是配得最好的!
Original post can be found here.
神悅納頭生的獻祭。因為頭生是最好的。
神要我們把最好的獻上為祭。
甚麼叫做「最好」呢﹖昨天我們聽過了鍾氏兄弟的音樂分享會﹐在他們的詩歌裡﹐我們發現原來基督教音樂可以那麼的好﹐透過他們的詩歌﹐我們也看到神真的是那麼的好﹗
這不是一場音樂會﹐是小兄弟對神作出了美好的獻祭。
他們獻上的音樂是最好的樂譜﹐最好的歌詞﹐最好的錄音素質﹐最好的聲線。
無可否認﹐神給他們在音樂上很大的恩賜﹐其實更重要的是他們一顆願意的心﹐他們願意好好的把恩賜磨煉和運用出來﹐而且用在生命的建立上﹐用在彰顯神的榮耀上。
在恩賜的運用上﹐在事奉的態度上﹐我們也應該對自己有這樣的要求。
福音是美好的﹐神也配得最好的。
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神悅納頭生的獻祭。因為頭生是最好的。
神要我們把最好的獻上為祭。
甚麼叫做「最好」呢﹖昨天我們聽過了鍾氏兄弟的音樂分享會﹐在他們的詩歌裡﹐我們發現原來基督教音樂可以那麼的好﹐透過他們的詩歌﹐我們也看到神真的是那麼的好﹗
這不是一場音樂會﹐是小兄弟對神作出了美好的獻祭。
他們獻上的音樂是最好的樂譜﹐最好的歌詞﹐最好的錄音素質﹐最好的聲線。
無可否認﹐神給他們在音樂上很大的恩賜﹐其實更重要的是他們一顆願意的心﹐他們願意好好的把恩賜磨煉和運用出來﹐而且用在生命的建立上﹐用在彰顯神的榮耀上。
在恩賜的運用上﹐在事奉的態度上﹐我們也應該對自己有這樣的要求。
福音是美好的﹐神也配得最好的。
Labels: The Chimes, 鐘聲
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From Kathy Lee: 一張自己尋找了很久的local Jazz Gospel CD！
最近買了這張CD "鐘聲" － 一張香港人製作的Jazz Gospel CD， 也是一張自己尋找了很久的local Jazz Gospel CD！
很高興看到鍾氏兄弟願意把福音融入Jazz, Blues, etc，也讓很多以前不聽福音歌曲的人都會願意去聽這CD.
自己祈禱了一段時間，求問神在我身上的旨意，同時怎樣可以在聖樂事工上再進深。看到這兩兄弟把他們的恩賜，用在神的工作上，自己也要努力！=P
And glad to see the live performance of these 2 brothers and you 2 perform very well. Also Thanks for the autograph on my CD! =P
From May Cheung: 張碟我都買o左！真心出色！
我同你都有同樣想法，就係點樣可以籍音樂上o既恩賜再進一步榮耀神？
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很高興看到鍾氏兄弟願意把福音融入Jazz, Blues, etc，也讓很多以前不聽福音歌曲的人都會願意去聽這CD.
自己祈禱了一段時間，求問神在我身上的旨意，同時怎樣可以在聖樂事工上再進深。看到這兩兄弟把他們的恩賜，用在神的工作上，自己也要努力！=P
And glad to see the live performance of these 2 brothers and you 2 perform very well. Also Thanks for the autograph on my CD! =P
From May Cheung: 張碟我都買o左！真心出色！
我同你都有同樣想法，就係點樣可以籍音樂上o既恩賜再進一步榮耀神？
Labels: The Chimes, 鐘聲
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From Annie Fong: 盡心、盡性、盡意愛主你的神 + 愛人如己
When I first met Henry and Roger in Methodist Church on 14 Oct 09, I have been deeply impressed by their beautiful and pure heart to serve God with their talents and passion in music. This is the only reason why I bought "The Chimes". After I have listened to their album, I'm deeply touched and totally speechless. The...ir music is magnificent! I forgot how many friends and sisters and brothers I have recommended "The Chimes" to and some of them have received the album as gifts. I hope you all love "The Chimes" and most important of all, 盡心、盡性、盡意愛主─你的神 + 愛人如己
行公義 好憐憫: This is a very interesting song. The more you listen to it and taste it, the more you would love it. The message is extremely clear and straight to the point:
神愛世人 甚至將獨生子賜俾我哋
咁我哋有冇 將最好嘅Hum Ban Lan俾番上帝
(The Erhu performance by 霍世潔 is absolutely fantastic)
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行公義 好憐憫: This is a very interesting song. The more you listen to it and taste it, the more you would love it. The message is extremely clear and straight to the point:
神愛世人 甚至將獨生子賜俾我哋
咁我哋有冇 將最好嘅Hum Ban Lan俾番上帝
(The Erhu performance by 霍世潔 is absolutely fantastic)
Labels: The Chimes, 鐘聲
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Monday, November 23, 2009
From Tweetie Bud: 無得彈的詩歌!
From Stan Cheung: 玩音響的人有福了！
玩音響的人有福了！聽靚聲的人有福了！喜歡詩歌的人有福了！熱烈推介：循道衛理教友 - 鍾氏兄弟最新CD「鍾聲」。個人最喜歡歌曲：「夢想．．．有一天I have a dream」。快啲買翻張啦！
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Labels: The Chimes, 鐘聲
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Monday, November 16, 2009
Really agree with Michael Chu's view on Sammi Cheng.
Sharing it with everybody!
Original post can be found here.
鄭秀文的「福音歌」
2009年10月28日 星期三
文：Michael Chu〈視博恩(香港)音樂節目《一激音樂》製作人〉
萬眾期待，鄭秀文的「福音歌」派台了！原來是一首包含著Rap的R & B風格歌曲《罪與罰》。Sammi事先張揚這張「福音大碟」有別傳統聖詩，將會很「型」，而且廣邀流行樂壇出色的製作單位合作，《罪與罰》的創作班底，包括了新加坡全能音樂人陳奐仁，本地樂隊24味及著名填詞人黃偉文。
一說到「福音歌」或「福音乜乜」，大家會想到必定要由基督徒包辦整件事情。就拿「福音歌」為例，理所當然是由基督徒創作和主唱，其他崗位例如編曲、監製等，基督徒佔越多數便越好。
而這一回Sammi的《罪與罰》，負責填詞的是一位非基督徒黃偉文，到底這首歌在基督徒們眼中，是否一首「正統」的「福音歌」？（按：黃偉文曾在多年前寫下一首被指為反基督教的歌曲《零號》，引起小風波）
筆者個人相信，上帝有主權和能力透過一切的人和事去完成衪的旨意，對此，筆者想起一段經文：
『（門徒）對耶穌說、夫子、我們看見一個人、奉你的名趕鬼、我們就禁止他、因為他不跟從我們。 耶穌說、不要禁止他．因為沒有人奉我名行異能、反倒輕易毀謗我。 不敵擋我們的、就是幫助我們的。 凡因你們是屬基督、給你們一杯水喝的、我實在告訴你們、他不能不得賞賜。』馬可福音9章38-41節
原來主耶穌對非基督徒參與或支持「基督教事工」有如此豁達的胸襟。將來也許在樂壇上出現更多的非基督徒「福音歌曲」，無論如何，我們也應該樂觀其成吧。
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Original post can be found here.
鄭秀文的「福音歌」
2009年10月28日 星期三
文：Michael Chu〈視博恩(香港)音樂節目《一激音樂》製作人〉
萬眾期待，鄭秀文的「福音歌」派台了！原來是一首包含著Rap的R & B風格歌曲《罪與罰》。Sammi事先張揚這張「福音大碟」有別傳統聖詩，將會很「型」，而且廣邀流行樂壇出色的製作單位合作，《罪與罰》的創作班底，包括了新加坡全能音樂人陳奐仁，本地樂隊24味及著名填詞人黃偉文。
一說到「福音歌」或「福音乜乜」，大家會想到必定要由基督徒包辦整件事情。就拿「福音歌」為例，理所當然是由基督徒創作和主唱，其他崗位例如編曲、監製等，基督徒佔越多數便越好。
而這一回Sammi的《罪與罰》，負責填詞的是一位非基督徒黃偉文，到底這首歌在基督徒們眼中，是否一首「正統」的「福音歌」？（按：黃偉文曾在多年前寫下一首被指為反基督教的歌曲《零號》，引起小風波）
筆者個人相信，上帝有主權和能力透過一切的人和事去完成衪的旨意，對此，筆者想起一段經文：
『（門徒）對耶穌說、夫子、我們看見一個人、奉你的名趕鬼、我們就禁止他、因為他不跟從我們。 耶穌說、不要禁止他．因為沒有人奉我名行異能、反倒輕易毀謗我。 不敵擋我們的、就是幫助我們的。 凡因你們是屬基督、給你們一杯水喝的、我實在告訴你們、他不能不得賞賜。』馬可福音9章38-41節
原來主耶穌對非基督徒參與或支持「基督教事工」有如此豁達的胸襟。將來也許在樂壇上出現更多的非基督徒「福音歌曲」，無論如何，我們也應該樂觀其成吧。
Labels: Christian faith, HK music industry, Sammi Cheng, 鄭秀文
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Friday, November 13, 2009
你是我的歌 - 徐偉賢 鍾一諾 Duet
Wow, an unprecedented vocal duet between Peco Chui & Roger Chung. On Youtube only!!
I like it x 3!
你是我的歌 - 徐偉賢 鍾一諾 Duet & 行公義 好憐憫 - 鍾一匡 鍾一諾 featuring 伍卓賢 on piano
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I like it x 3!
你是我的歌 - 徐偉賢 鍾一諾 Duet & 行公義 好憐憫 - 鍾一匡 鍾一諾 featuring 伍卓賢 on piano
Labels: Henry Chung, Kubrick live, Peco Chui, Roger Chung, The Chimes, 伍卓賢, 徐偉賢, 行公義、好憐憫, 鍾一匡, 鍾一諾
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Wednesday, November 11, 2009
Another memorial of Jesse James Johnson
Jeff posted yet another great remembrance of the outlaw of the blues aptly entited "hey bartender, another knotty head." Here it is!!
Though he passed on over two years ago, I've been thinking about Jesse James a lot lately. I don’t remember the exact chain of events, but somehow shortly after I started showing up at blues jams around DC at the tender age of 19, I fell in with Jesse James and The Raiders. Looking back, It was one of the best things that ever happened to me.
The first night, I remember his amp being unreliable, his guitar going way out of tune, him getting belligerent after the third set break (smoking a Newport, downing a Seagram's, and yelling at his drummer Lee to "stop messin’ with the TIMING, man!" - even though Jesse himself was speeding up or slowing down). He was running the show (sometimes into the ground), and the people who came out to listen loved every second.
Adams Morgan hadn’t quite turned into the bridge and tunnel brodeo yet... it was still strong on its bohemian international flavor when I started with them. The owner of La Fourchette next door would give us amazing French food on set breaks while he rambled on about his undying love for American blues in a heavy accent; people would make the circuit of Columbia Station for jazz, any of the great African dance halls on the block, Madam's Organ, Mambo Room... there was always good, authentic music being played, attracting crowds of people from all over the city. Jesse’s shows at Cafe Toulouse ("right about now its showtime here at the Cafe Too-Loose!") were a cornerstone of it all for years.
My first night with him was a rollercoaster, and I dove in and played what I could, then backed off when I didn’t know where the song would go next. It wasn’t the best playing I'd ever done, but it was the best listening. At the time, I didn’t even realize it, but I was in the middle of an American Soul Music master class. Within only about a month, I knew half of Otis Redding's catalog. Albert King, Junior Walker, Rufus Thomas, Eddie Floyd... sometimes I had no idea who wrote the songs or how the originals actually sounded until years later, but I damn well knew the songs note for note.
His bandmates had been with him for decades, but I never felt like the odd man out. I was 45 years younger than them, but we joked like old friends. "Brother Jeff" had joined "Brother Lee" and "Brother Turner" as his permanent backing band. I really never thought of it as "Look at me! I'm playing with this cool old black guy!", but I understand that a lot of his friends were wary. We’d usually play outside the scope of the established "DC Blues" scene, and do big shows in old R'n'B clubs of the more segregated parts of NE and SE DC. I’d get stared down by doormen ("I think you’re looking for 14th St. NW, this is 14th St. SE"), or visibly make some folks uncomfortable as we loaded in and enjoyed a pre-show meal ("Sorry, all we have is soul food"), until the music began... then we were all friends. A massive 4th of July block party in Anacostia will undoubtedly go down as my favorite memory of *real* DC. We played on the front porch of his friend’s house. The whole neighborhood was out dancing, grilling, carrying on in the street... then we watched the fireworks over the river while old LPs spun on the record player. It was 2002, but it may as well have been 1967.
We would occasionally meet up to rehearse at an old red brick house on Rhode Island Ave NE. Have a cigarette and a beer on the stoop, neighborhood folks would walk by laughing and smiling when they saw Jesse. We’d go into the wood-paneled basement, and an unmistakable electricity was in the air. Some old recording equipment was in the corner... yellowed framed photographs on the walls. I strained to look closer between songs. Bo Diddley, 1961. The Bo-Ettes headshots. Tour photos, festival programs, letters from all around the world, framed 45’s. "Oh, yeah man... I didn’t tell you? This is Bo’s house. We recorded here a lot when I was in the band."
He never bragged about his career... I think 95% of the people who came out to the clubs to see him didn’t even know he was there from the beginning... but it didn’t matter. Jesse James and the Raiders was his world now, and it was going strong. Every now and then he’d show up to a gig in a full cowboy-getup, shooting cap guns at women in the audience and strutting around like he was in a duel during his solos. Putting the guitar down and dancing with the young women in there with their nervous dates. Thinking about it now, he could barely play lead guitar worth a damn (he was actually Bo's bass player). But none of that mattered. Even into his 70s, He was a true soul showman, playing with heart and conviction, making audiences feel connected with everything the band was doing through nothing more than his gravelly, infectious laugh.
-Jeff Conlin
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My experience with Jesse James was not unlike Jeff's. In fact, it was largely similar. Now looking back, it was a good lesson for me. Thanks to Brother Lee Hailey for bringing me to Jesse. If it wasn't for Jesse, I'd never have met Clarence. If it weren't for them, there wouldn't be no Sonny Boy Chung.
I remember once I was playing in Bohemian Caverns with Clarence and Jesse and his then Raiders were playing in the club upstairs. We crossed paths again. That might've been the last time I saw Jesse. And Jesse still had that old smile at me, and told his new harmonica player (name escapes me) that "You gotta learn something from that guy," pointing at me. In vanity, I was satisfied with his comment, as I was always proud to be in his band. And as always, I was his favorite. He would yell at Brother Lee for the TIMIN' thing and the saxophone player for playing too damn loud. Jesse would never yell at me.
Once we were playing at Cafe TouLOOSe, Jesse told me why he wanted me to be the harmonica player in his band. "The reason is simple. Those bastards (the other harp players who sat in) play over my singing. You don't play over my singing. You listen to the music. You respect the music. So when people ask me who's my harmonica player, it ain't gonna be those bastards. You know who it's gonna be!" I was deeply thankful for his recognition, which would shape me into a bluesman later on in life.
That's how our friendship started. The rest was history....
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Though he passed on over two years ago, I've been thinking about Jesse James a lot lately. I don’t remember the exact chain of events, but somehow shortly after I started showing up at blues jams around DC at the tender age of 19, I fell in with Jesse James and The Raiders. Looking back, It was one of the best things that ever happened to me.
The first night, I remember his amp being unreliable, his guitar going way out of tune, him getting belligerent after the third set break (smoking a Newport, downing a Seagram's, and yelling at his drummer Lee to "stop messin’ with the TIMING, man!" - even though Jesse himself was speeding up or slowing down). He was running the show (sometimes into the ground), and the people who came out to listen loved every second.
Adams Morgan hadn’t quite turned into the bridge and tunnel brodeo yet... it was still strong on its bohemian international flavor when I started with them. The owner of La Fourchette next door would give us amazing French food on set breaks while he rambled on about his undying love for American blues in a heavy accent; people would make the circuit of Columbia Station for jazz, any of the great African dance halls on the block, Madam's Organ, Mambo Room... there was always good, authentic music being played, attracting crowds of people from all over the city. Jesse’s shows at Cafe Toulouse ("right about now its showtime here at the Cafe Too-Loose!") were a cornerstone of it all for years.
My first night with him was a rollercoaster, and I dove in and played what I could, then backed off when I didn’t know where the song would go next. It wasn’t the best playing I'd ever done, but it was the best listening. At the time, I didn’t even realize it, but I was in the middle of an American Soul Music master class. Within only about a month, I knew half of Otis Redding's catalog. Albert King, Junior Walker, Rufus Thomas, Eddie Floyd... sometimes I had no idea who wrote the songs or how the originals actually sounded until years later, but I damn well knew the songs note for note.
His bandmates had been with him for decades, but I never felt like the odd man out. I was 45 years younger than them, but we joked like old friends. "Brother Jeff" had joined "Brother Lee" and "Brother Turner" as his permanent backing band. I really never thought of it as "Look at me! I'm playing with this cool old black guy!", but I understand that a lot of his friends were wary. We’d usually play outside the scope of the established "DC Blues" scene, and do big shows in old R'n'B clubs of the more segregated parts of NE and SE DC. I’d get stared down by doormen ("I think you’re looking for 14th St. NW, this is 14th St. SE"), or visibly make some folks uncomfortable as we loaded in and enjoyed a pre-show meal ("Sorry, all we have is soul food"), until the music began... then we were all friends. A massive 4th of July block party in Anacostia will undoubtedly go down as my favorite memory of *real* DC. We played on the front porch of his friend’s house. The whole neighborhood was out dancing, grilling, carrying on in the street... then we watched the fireworks over the river while old LPs spun on the record player. It was 2002, but it may as well have been 1967.
We would occasionally meet up to rehearse at an old red brick house on Rhode Island Ave NE. Have a cigarette and a beer on the stoop, neighborhood folks would walk by laughing and smiling when they saw Jesse. We’d go into the wood-paneled basement, and an unmistakable electricity was in the air. Some old recording equipment was in the corner... yellowed framed photographs on the walls. I strained to look closer between songs. Bo Diddley, 1961. The Bo-Ettes headshots. Tour photos, festival programs, letters from all around the world, framed 45’s. "Oh, yeah man... I didn’t tell you? This is Bo’s house. We recorded here a lot when I was in the band."
He never bragged about his career... I think 95% of the people who came out to the clubs to see him didn’t even know he was there from the beginning... but it didn’t matter. Jesse James and the Raiders was his world now, and it was going strong. Every now and then he’d show up to a gig in a full cowboy-getup, shooting cap guns at women in the audience and strutting around like he was in a duel during his solos. Putting the guitar down and dancing with the young women in there with their nervous dates. Thinking about it now, he could barely play lead guitar worth a damn (he was actually Bo's bass player). But none of that mattered. Even into his 70s, He was a true soul showman, playing with heart and conviction, making audiences feel connected with everything the band was doing through nothing more than his gravelly, infectious laugh.
-Jeff Conlin
-------------------------------------------------------------------------------------
My experience with Jesse James was not unlike Jeff's. In fact, it was largely similar. Now looking back, it was a good lesson for me. Thanks to Brother Lee Hailey for bringing me to Jesse. If it wasn't for Jesse, I'd never have met Clarence. If it weren't for them, there wouldn't be no Sonny Boy Chung.
I remember once I was playing in Bohemian Caverns with Clarence and Jesse and his then Raiders were playing in the club upstairs. We crossed paths again. That might've been the last time I saw Jesse. And Jesse still had that old smile at me, and told his new harmonica player (name escapes me) that "You gotta learn something from that guy," pointing at me. In vanity, I was satisfied with his comment, as I was always proud to be in his band. And as always, I was his favorite. He would yell at Brother Lee for the TIMIN' thing and the saxophone player for playing too damn loud. Jesse would never yell at me.
Once we were playing at Cafe TouLOOSe, Jesse told me why he wanted me to be the harmonica player in his band. "The reason is simple. Those bastards (the other harp players who sat in) play over my singing. You don't play over my singing. You listen to the music. You respect the music. So when people ask me who's my harmonica player, it ain't gonna be those bastards. You know who it's gonna be!" I was deeply thankful for his recognition, which would shape me into a bluesman later on in life.
That's how our friendship started. The rest was history....
Labels: authentic blues, blues, blues harmonica, Jesse James and The Raiders, Jesse James Brown
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Monday, November 09, 2009
From 新報: 劍膽琴心
新報 Nov 10, 2009
劍膽琴心
撰文：馮慧殷 攝影：張福宏
Original post can be found here.
西裝畢挺的Henry Chung（鍾一匡）正職是一名律師，立志在不公平的社會尋找公義；拿起口琴，吹奏起悠然黑人藍調音樂，希望給人們了解音樂源頭，與音樂對話。
他為了兩種身份賦予自己兩種使命感，選擇做肩負正義之劍的口琴師。
同現在很多小孩一樣，我在6歲也是被家人捉去學畫畫，跟了位水墨畫家學，我怎麼畫都畫不好，家人們不死心，說「你總得學點甚麼」，恰好我剛學懂綁鞋帶，想有點突破就轉去學琴了。
學了二十多年，總考不到8級，最後只好放棄繼續。不過學琴學到了樂理，為日後了解音樂奠基，也是算收穫了。
家人有沒有刻意培養音樂才能？
自小都是聽港式流行曲大的，爸爸會聽歐西流行曲如貓王。家人都喜歡聽歌，也不揀擇，不會刻意讓我接觸甚麼音樂。不過耳濡目染下，對音樂的觸覺早受到影響了。
何時愛上藍調音樂？
15歲去到美國讀書，發現了藍調，是爵士樂的一種。感覺這種音樂好像和我說話，我知道這是屬於我的音樂，因為它可以在靈魂層面和我接觸到。不過那時還沒想過去學，直到2000年，當時我在華盛頓讀法律，有次行街，見到有個黑人在吹口琴賣藝，吹得極好。
我就忍不住問他怎麼吹，他同我講，其實不難，叫我回家學好頭三個孔，他說，練好這三個孔，再返去找他。之後我苦練下學懂了便再找到他，最終得到他傳授畢生絕技。
大學為何不選讀音樂？
我從未想過讀音樂，也沒想過以音樂「搵食」。我覺得音樂不是讀出來，音樂是要實踐出來，否則會似紙上談兵。以最直接的方法去聽和看，才可感受音樂，而且我沒有這種才能，應該留給更厲害的人去做。
律師與音樂的共同點？
做律師之後，多了音樂界的朋友找我處理法律問題。其實不少獨立音樂人，都沒有法律的代表，即使他們有經理人，都可能是一知半解的，在知識產權上未必得到更好的保障。如果有個律師，又搞音樂的，而且很熟悉兩方的流程，那麼這樣的一個我，就可以幫助到他們受到應有的法律保護，可以更大度幫助到他們了。
想用音樂表達甚麼？
律師的工作很繁忙，而音樂可以為我真正的解壓。不過即使音樂是我的娛樂或消遣，但我都是百份之百投入的，我敢說來看我表演的觀眾，絕對不會悶，有很多不同的音樂元素給到他們。
在11月27日的太古港島東Friday Fest＇戶外 表演，我會和加拿大「靚聲」女歌手Gigi Marentette，及Jesrael Lucero這位盲人鋼琴家合作表演，我相信我們三人的互動，可以給觀眾一點震撼的感覺，讓他們能融入到我們的音樂中。
生活與音樂有何關係？
為甚麼我要玩音樂，為甚麼要堅持？因為除了事業、工作之外，人應該還要有文化的。我想將在外國學到的，令我感觸的藍調，想製造一個平台再貢獻給香港人。因為如果你給香港人好的東西，他們會懂得欣賞的，會推動的。而我擁有的是純正的藍調，可以給他們除了工作外，生活上的另一種選擇。
音樂之路走得平坦嗎？
自己是個黃種人，吹黑人的音樂，卻被白人歧視兼「柴台」，其實是很奇怪的，我更被華盛頓一些Club列入不受歡迎人物。不過上天對我不薄，有一位鼓手聽我吹過後，覺得我吹得還可以，便帶我去找了位黑人藍調歌手Jesse James Johnson。
Jesse沒有嫌棄我，更讓我參加他的樂隊來鍛練我。後來，輾轉再認識另一位黑人藍調結他手Clarence Turner，得到他的提攜同教誨，才有今天的我。一路走來，有波折，卻幸運。
對金錢有甚麼看法？
人不可以沒有金錢，但我不會拿錢去投資買樓甚麼的，又帶不入棺材。不過，有時音樂是精緻文化，需要有支持才能享受，例如有人會儲很多錢買部機，以便聽得到「靚聲」的音樂CD，既然從中得到樂趣，何樂而不為呢？人的生命很短暫，盡可以都應該抽時間體會人生。
況且不一定要錢才有享受，就像去效野公園不需要很多錢，但隨時可以享受到鳥語花香。
藍調之源
藍調最早的起源應該在19世紀初，起源於新大陸殖民者的黑奴拓墾區。非洲黑人被白人抓來美洲作奴隸，他們就藉着工作或閒暇時間以歌唱來減輕肉體與心靈的苦痛。有學者考據，藍調音樂與某些西北非的民族音樂甚為接近。「blues」 原意指憂鬱，在黑人音樂裏面就是藍調的意思。
肩負正義的口琴師
Henry說他想當律師，是由來已久的，因為有種使命感，即使只有一點能力，都想在不公平的社會，彰顯公義。他說當聽眾聽到自己的音樂會感動，便想繼續做下去，他想帶給聽到他音樂的人，打開心扉感悟人生，同樣是一種使命感使然。憑着想在俗世中盡力做一股清泉，如同他的音樂，Henry給自己背負不少，卻樂在其中，也許就是音樂的美妙之處。
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劍膽琴心
撰文：馮慧殷 攝影：張福宏
Original post can be found here.
西裝畢挺的Henry Chung（鍾一匡）正職是一名律師，立志在不公平的社會尋找公義；拿起口琴，吹奏起悠然黑人藍調音樂，希望給人們了解音樂源頭，與音樂對話。
他為了兩種身份賦予自己兩種使命感，選擇做肩負正義之劍的口琴師。
同現在很多小孩一樣，我在6歲也是被家人捉去學畫畫，跟了位水墨畫家學，我怎麼畫都畫不好，家人們不死心，說「你總得學點甚麼」，恰好我剛學懂綁鞋帶，想有點突破就轉去學琴了。
學了二十多年，總考不到8級，最後只好放棄繼續。不過學琴學到了樂理，為日後了解音樂奠基，也是算收穫了。
家人有沒有刻意培養音樂才能？
自小都是聽港式流行曲大的，爸爸會聽歐西流行曲如貓王。家人都喜歡聽歌，也不揀擇，不會刻意讓我接觸甚麼音樂。不過耳濡目染下，對音樂的觸覺早受到影響了。
何時愛上藍調音樂？
15歲去到美國讀書，發現了藍調，是爵士樂的一種。感覺這種音樂好像和我說話，我知道這是屬於我的音樂，因為它可以在靈魂層面和我接觸到。不過那時還沒想過去學，直到2000年，當時我在華盛頓讀法律，有次行街，見到有個黑人在吹口琴賣藝，吹得極好。
我就忍不住問他怎麼吹，他同我講，其實不難，叫我回家學好頭三個孔，他說，練好這三個孔，再返去找他。之後我苦練下學懂了便再找到他，最終得到他傳授畢生絕技。
大學為何不選讀音樂？
我從未想過讀音樂，也沒想過以音樂「搵食」。我覺得音樂不是讀出來，音樂是要實踐出來，否則會似紙上談兵。以最直接的方法去聽和看，才可感受音樂，而且我沒有這種才能，應該留給更厲害的人去做。
律師與音樂的共同點？
做律師之後，多了音樂界的朋友找我處理法律問題。其實不少獨立音樂人，都沒有法律的代表，即使他們有經理人，都可能是一知半解的，在知識產權上未必得到更好的保障。如果有個律師，又搞音樂的，而且很熟悉兩方的流程，那麼這樣的一個我，就可以幫助到他們受到應有的法律保護，可以更大度幫助到他們了。
想用音樂表達甚麼？
律師的工作很繁忙，而音樂可以為我真正的解壓。不過即使音樂是我的娛樂或消遣，但我都是百份之百投入的，我敢說來看我表演的觀眾，絕對不會悶，有很多不同的音樂元素給到他們。
在11月27日的太古港島東Friday Fest＇戶外 表演，我會和加拿大「靚聲」女歌手Gigi Marentette，及Jesrael Lucero這位盲人鋼琴家合作表演，我相信我們三人的互動，可以給觀眾一點震撼的感覺，讓他們能融入到我們的音樂中。
生活與音樂有何關係？
為甚麼我要玩音樂，為甚麼要堅持？因為除了事業、工作之外，人應該還要有文化的。我想將在外國學到的，令我感觸的藍調，想製造一個平台再貢獻給香港人。因為如果你給香港人好的東西，他們會懂得欣賞的，會推動的。而我擁有的是純正的藍調，可以給他們除了工作外，生活上的另一種選擇。
音樂之路走得平坦嗎？
自己是個黃種人，吹黑人的音樂，卻被白人歧視兼「柴台」，其實是很奇怪的，我更被華盛頓一些Club列入不受歡迎人物。不過上天對我不薄，有一位鼓手聽我吹過後，覺得我吹得還可以，便帶我去找了位黑人藍調歌手Jesse James Johnson。
Jesse沒有嫌棄我，更讓我參加他的樂隊來鍛練我。後來，輾轉再認識另一位黑人藍調結他手Clarence Turner，得到他的提攜同教誨，才有今天的我。一路走來，有波折，卻幸運。
對金錢有甚麼看法？
人不可以沒有金錢，但我不會拿錢去投資買樓甚麼的，又帶不入棺材。不過，有時音樂是精緻文化，需要有支持才能享受，例如有人會儲很多錢買部機，以便聽得到「靚聲」的音樂CD，既然從中得到樂趣，何樂而不為呢？人的生命很短暫，盡可以都應該抽時間體會人生。
況且不一定要錢才有享受，就像去效野公園不需要很多錢，但隨時可以享受到鳥語花香。
藍調之源
藍調最早的起源應該在19世紀初，起源於新大陸殖民者的黑奴拓墾區。非洲黑人被白人抓來美洲作奴隸，他們就藉着工作或閒暇時間以歌唱來減輕肉體與心靈的苦痛。有學者考據，藍調音樂與某些西北非的民族音樂甚為接近。「blues」 原意指憂鬱，在黑人音樂裏面就是藍調的意思。
肩負正義的口琴師
Henry說他想當律師，是由來已久的，因為有種使命感，即使只有一點能力，都想在不公平的社會，彰顯公義。他說當聽眾聽到自己的音樂會感動，便想繼續做下去，他想帶給聽到他音樂的人，打開心扉感悟人生，同樣是一種使命感使然。憑着想在俗世中盡力做一股清泉，如同他的音樂，Henry給自己背負不少，卻樂在其中，也許就是音樂的美妙之處。
Labels: authentic blues, blues, Clarence "The Bluesman" Turner, Clarence Turner, Henry Chung, HK Blues Allstars, Jesse James and The Raiders, Jesse James Brown, The Chimes, 新報, 鍾一匡, 鐘聲
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Review from Underground HK: "The Chimes" is silky smooth and delightful!
Original post can be found here.
I despise religions - some of the world's worst atrocities throughout history have been committed in the name of god (it's not a recent development, so let's not be sanctimonious about it). However, I do acknowledge that on the other hand, religions can sometimes inspire people to do amazingly good things, and some of the world's most beautiful music had been written to the glory of the lord. So when I found the Chung Brothers' CD, the Chimes, in my hands, I was torn between curiosity and bigotry (yes, I get that way too but at least I am honest about it).
The CD bills itself as a Gospel album, which immediately piqued my curiosity, as it conjured up images of large groups in cassocks, with tambourine in hands and bopping left and right - the elder of the brothers, Henry, a well known blues harmonica player in town, certainly would not look out of place in a gospel choir, but I was interested in how it would work out in Cantonese However, I was soon to be disappointed - the album started with a short intro in traditional negro spiritual style and that was almost as close to a full blown gospel choir as it got (almost). Instead what followed was over an hour of delightful tunes in various styles, predominantly R&B based (think Ink Spots to Luther Vandross here rather than Rihanna) but interlaced, among others, with Latin throughout (Bossa/Calypso/Flamenco). The songs from the album are all well crafted and excellently performed, which is hardly surprising as a range of musicians from a Grammy nominee to many well known local performers counts among the featured artists. Rather than trying to analyse each song to death, which is not really my style, I think suffice it to say that on the whole they are musically interesting, well arranged and harmonised and once again, excellently executed.
To summarise, silky smooth and delightful. Whether you are trying to get away from today's manufactured pop, or tired of today's angst driven alternative rock, or missing the rich sound of bygone era, or simply in need of something relaxing to kick back for a quiet evening, leaving aside any messages contained in this CD (not in itself a bad thing, but to pass over this because of its religious nature would be a big shame), the work would appeal to you.
Thlayli
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I despise religions - some of the world's worst atrocities throughout history have been committed in the name of god (it's not a recent development, so let's not be sanctimonious about it). However, I do acknowledge that on the other hand, religions can sometimes inspire people to do amazingly good things, and some of the world's most beautiful music had been written to the glory of the lord. So when I found the Chung Brothers' CD, the Chimes, in my hands, I was torn between curiosity and bigotry (yes, I get that way too but at least I am honest about it).
The CD bills itself as a Gospel album, which immediately piqued my curiosity, as it conjured up images of large groups in cassocks, with tambourine in hands and bopping left and right - the elder of the brothers, Henry, a well known blues harmonica player in town, certainly would not look out of place in a gospel choir, but I was interested in how it would work out in Cantonese However, I was soon to be disappointed - the album started with a short intro in traditional negro spiritual style and that was almost as close to a full blown gospel choir as it got (almost). Instead what followed was over an hour of delightful tunes in various styles, predominantly R&B based (think Ink Spots to Luther Vandross here rather than Rihanna) but interlaced, among others, with Latin throughout (Bossa/Calypso/Flamenco). The songs from the album are all well crafted and excellently performed, which is hardly surprising as a range of musicians from a Grammy nominee to many well known local performers counts among the featured artists. Rather than trying to analyse each song to death, which is not really my style, I think suffice it to say that on the whole they are musically interesting, well arranged and harmonised and once again, excellently executed.
To summarise, silky smooth and delightful. Whether you are trying to get away from today's manufactured pop, or tired of today's angst driven alternative rock, or missing the rich sound of bygone era, or simply in need of something relaxing to kick back for a quiet evening, leaving aside any messages contained in this CD (not in itself a bad thing, but to pass over this because of its religious nature would be a big shame), the work would appeal to you.
Thlayli
Labels: The Chimes, Underground HK, 鐘聲
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From Douban: 史上最强自助餐碟！
Original post can be found here.
好似这两个香港人要做一片涵盖欧美音乐的视听教材么? 音乐是欧美的 ，语言是香港的，风格多样，主旨集中。
从黑人灵歌到白人民谣，从blues, bossa nova, Contemporary Christian 到８0－９０年代的港乐无一不做到极致。当我听到Ray Charles， 听到Gilberto和Stan Getz唱着粤语的之时，就震惊了。我甚至一刹那以为张学友，古巨基也来了。
一开始有点不敢相信是香港人做的，甚至怀疑是cover的专辑不过把西洋曲子拿来唱粤语和国语。之后才发现真是原创的。惜乎有一些细节的改动反而暴露了他们对这些音乐理解和浸润的还未够深入。
听到后来觉得惊艳于音乐的道地之余，自己却没有真正被打动。这张史上最好自助餐碟，却让我有点感到不知道要吃什么好的尴尬。 而这么多风格统一在福音之下，那种情绪表达对于我也没有触动。或许我要求太高了，对于华语乐坛已属不易。
但是有时候细想，到底怎样的音乐算牛X呢？跟别人做得一摸一样算么？ 应该还是有独立的风格吧？虽然说现在大家都在混来混去，但是各种元素放在那里，你要怎么调配的确要有自己一套。就如做饭，食材调料都是这么些，但是要烹调出得以独具特色的好菜，却也是需要技艺和天赋。 这两位独立的音乐人的第一张，art of science上没有问题，听下来却不知道他们自己到底要做什么样的音乐，还有那些不如没有的小improvisation ，实在让人不知道要说什么。
给四星应该是鼓励吧，对他们的下张还是有所期待。
kaga: Henry的蓝调口琴太舒服了, 叫Henry可以加入方大同的制作队伍了。
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好似这两个香港人要做一片涵盖欧美音乐的视听教材么? 音乐是欧美的 ，语言是香港的，风格多样，主旨集中。
从黑人灵歌到白人民谣，从blues, bossa nova, Contemporary Christian 到８0－９０年代的港乐无一不做到极致。当我听到Ray Charles， 听到Gilberto和Stan Getz唱着粤语的之时，就震惊了。我甚至一刹那以为张学友，古巨基也来了。
一开始有点不敢相信是香港人做的，甚至怀疑是cover的专辑不过把西洋曲子拿来唱粤语和国语。之后才发现真是原创的。惜乎有一些细节的改动反而暴露了他们对这些音乐理解和浸润的还未够深入。
听到后来觉得惊艳于音乐的道地之余，自己却没有真正被打动。这张史上最好自助餐碟，却让我有点感到不知道要吃什么好的尴尬。 而这么多风格统一在福音之下，那种情绪表达对于我也没有触动。或许我要求太高了，对于华语乐坛已属不易。
但是有时候细想，到底怎样的音乐算牛X呢？跟别人做得一摸一样算么？ 应该还是有独立的风格吧？虽然说现在大家都在混来混去，但是各种元素放在那里，你要怎么调配的确要有自己一套。就如做饭，食材调料都是这么些，但是要烹调出得以独具特色的好菜，却也是需要技艺和天赋。 这两位独立的音乐人的第一张，art of science上没有问题，听下来却不知道他们自己到底要做什么样的音乐，还有那些不如没有的小improvisation ，实在让人不知道要说什么。
给四星应该是鼓励吧，对他们的下张还是有所期待。
kaga: Henry的蓝调口琴太舒服了, 叫Henry可以加入方大同的制作队伍了。
Labels: Henry Chung, Khalil Fong, Roger Chung, The Chimes, 鍾一匡, 鍾一諾, 鐘聲
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From 星島日報:《鐘聲》大碟以傳揚福音和呼籲基督徒關心社會為題旨!
福音歌曲 傳送奇異恩典
Original post can be found here.
自全面於演藝界復出後，鄭秀文的工作流程填得密密的，十一月底便推出首張福音唱片《信Faith》。鄭秀文演繹福音歌曲固然跟其信仰有關，事實上，在多年來的香港樂壇裏，不少基督徒歌手都有演唱福音歌曲，以傳達有關信仰的訊息。
若讀者是鄭秀文粉絲或上世紀九十年代的歌迷，應記得鄭秀文唱過一首「伴侶有十誡」的《十誡》——當然，此十誡不同彼十誡，鄭秀文於《信Faith》將跟樂迷分享其信仰體驗。然而，此碟不止獻唱歌頌便算，熟悉本地樂壇運作的製作單位，在《信Faith》注入流行元素和有趣點子，好像《Forgiveness》便Featuring唱作人陳奐仁，《罪與罰》也邀來由陳子聰等人組成的「廿四味」合唱。記得鄭秀文曾在《愛是……》與LMF合作，又經常於表演時跟MC仁同台互Rap，這次和「廿四味」合作，可說是駕輕就熟。雖然《信Faith》還未推出，但觀其不乏創意元素，再配合鄭秀文於今日樂壇的影響力，可望為福音大碟示範出新方向。
猶如見證分享
家喻戶曉的《奇異恩典》（《Amazing Grace》），相信是這麼多年來最成功的福音歌曲之一，於流行音樂傳福音，接觸聽眾的範疇就更廣了。跟鄭秀文一樣，不少歌手都有信仰背景，他們希望通過自己的天賦才能——歌藝，以及容易接近普羅大眾的表演平台，來傳達信仰訊息。
基督徒曾路得是其中一位推動福音音樂的前輩歌手，除了創作充滿宗教色彩的歌曲，她在一九八四年加入了香港基督徒音樂事工協會，其後成立自己的製作公司，推廣現代基督教音樂及福音唱片。
曾於上世紀九十年代，主持《靜夜郭落》、《不一樣的山頂黃昏》等電台節目的郭靜，創作了流行一時的《生命因你動聽》，此曲由黃韻玲編曲、郭靜與黃偉文聯合譜詞，歌詞中：「奇事接續一再發生」、「像聖經故事吸引」、「神默允，凡人便有了聲音」都有傳揚福音的味道，而「然後你問我：放棄麼？害怕怎會敵不過……循循善誘我高歌」的內容，則好像郭靜作見證分享一樣。跟郭靜一樣曾為唱片騎師的藝人歌手羅敏莊，演唱過的福音歌曲也收錄在不少雜錦合輯之中。
本身為基督徒的唱作歌手徐偉賢，亦於今年推出大碟《Never Say Never》，以旋律悅耳的民謠樂韻和充滿鼓勵性的歌詞，表達宗教訊息。人氣愈來愈高的新一代歌手張敬軒，也曾在訪問時不諱言「目標是當一個福音歌手」，並以一曲《遇見神》成功融入主流樂壇之中，歌詞裏：「然而遇見神，被指引，再生精采」、「人能遇見神，是福氣，最終高飛」，叫不少有信仰的人產生共鳴。
組合樂隊眾志成城
所謂眾志成城，不僅個人歌手演繹福音歌曲，本地樂壇亦有不少福音組合出現，而且創作密度似乎比歌手更高。於組合、樂隊百花爭鳴的上世紀八十年代，「赤道」便打著福音樂隊的旗幟而來，推出《有情天地》、《赤道》和《隱藏的太陽》等專輯，漸漸為人認識，雖然「歌途」並不長久，但在幾乎全以情歌掛帥的本地主流樂壇來說，主題獨特的「赤道」已算是不可多得的福音樂隊。
到了上世紀九十年代，張崇基、張崇德兩兄弟彷彿繼承「赤道」於主流樂壇的「神聖任務」，雖然不像「赤道」純粹演繹福音歌曲，但張氏兄弟一直堅持努力遊走於流行音樂與福音歌曲之間，並創作了《耶穌豈是凡人》、《陶造我一生》、《愛裏重圓》等多首福音作品。此外，他們每次在演唱會演出時，都會獻唱一、兩首福音歌曲。
及至二十一世紀，自言受著「赤道」影響、在基督教家庭成長的兄弟班鍾一匡和鍾一諾，早於本年七月推出《鐘聲》大碟，以傳揚福音和呼籲基督徒關心社會為題旨。他們還邀來三位福音歌手羅敏莊、鄧婉玲與Howard McCrary合唱，而《鐘聲》的製作經費亦得到教內人士設立的基金支持。
在銀幕上是冷面笑匠的前「達明一派」成員劉以達，表示自信主以後，戒掉了許多壞習慣，生活作息變得十分規律，每逢周日也上主日崇拜。早前他組成了新樂隊Love Mission，並於六月自資出版專輯《劉以達@Love Mission》，收錄包括《與主同行》、《大能大愛》等六首福音歌曲。其實「達哥」在樂壇的人脈關係不俗，亦擁有知名度，實能把Love Mission打造成新「赤道」，只是過往曾與他組成的組合，最終都解散收場，Love Mission會否維持下去，為福音歌曲打造另一片天空，豐富本地樂壇，還是未知之數。
報導來源:星島日報
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Original post can be found here.
自全面於演藝界復出後，鄭秀文的工作流程填得密密的，十一月底便推出首張福音唱片《信Faith》。鄭秀文演繹福音歌曲固然跟其信仰有關，事實上，在多年來的香港樂壇裏，不少基督徒歌手都有演唱福音歌曲，以傳達有關信仰的訊息。
若讀者是鄭秀文粉絲或上世紀九十年代的歌迷，應記得鄭秀文唱過一首「伴侶有十誡」的《十誡》——當然，此十誡不同彼十誡，鄭秀文於《信Faith》將跟樂迷分享其信仰體驗。然而，此碟不止獻唱歌頌便算，熟悉本地樂壇運作的製作單位，在《信Faith》注入流行元素和有趣點子，好像《Forgiveness》便Featuring唱作人陳奐仁，《罪與罰》也邀來由陳子聰等人組成的「廿四味」合唱。記得鄭秀文曾在《愛是……》與LMF合作，又經常於表演時跟MC仁同台互Rap，這次和「廿四味」合作，可說是駕輕就熟。雖然《信Faith》還未推出，但觀其不乏創意元素，再配合鄭秀文於今日樂壇的影響力，可望為福音大碟示範出新方向。
猶如見證分享
家喻戶曉的《奇異恩典》（《Amazing Grace》），相信是這麼多年來最成功的福音歌曲之一，於流行音樂傳福音，接觸聽眾的範疇就更廣了。跟鄭秀文一樣，不少歌手都有信仰背景，他們希望通過自己的天賦才能——歌藝，以及容易接近普羅大眾的表演平台，來傳達信仰訊息。
基督徒曾路得是其中一位推動福音音樂的前輩歌手，除了創作充滿宗教色彩的歌曲，她在一九八四年加入了香港基督徒音樂事工協會，其後成立自己的製作公司，推廣現代基督教音樂及福音唱片。
曾於上世紀九十年代，主持《靜夜郭落》、《不一樣的山頂黃昏》等電台節目的郭靜，創作了流行一時的《生命因你動聽》，此曲由黃韻玲編曲、郭靜與黃偉文聯合譜詞，歌詞中：「奇事接續一再發生」、「像聖經故事吸引」、「神默允，凡人便有了聲音」都有傳揚福音的味道，而「然後你問我：放棄麼？害怕怎會敵不過……循循善誘我高歌」的內容，則好像郭靜作見證分享一樣。跟郭靜一樣曾為唱片騎師的藝人歌手羅敏莊，演唱過的福音歌曲也收錄在不少雜錦合輯之中。
本身為基督徒的唱作歌手徐偉賢，亦於今年推出大碟《Never Say Never》，以旋律悅耳的民謠樂韻和充滿鼓勵性的歌詞，表達宗教訊息。人氣愈來愈高的新一代歌手張敬軒，也曾在訪問時不諱言「目標是當一個福音歌手」，並以一曲《遇見神》成功融入主流樂壇之中，歌詞裏：「然而遇見神，被指引，再生精采」、「人能遇見神，是福氣，最終高飛」，叫不少有信仰的人產生共鳴。
組合樂隊眾志成城
所謂眾志成城，不僅個人歌手演繹福音歌曲，本地樂壇亦有不少福音組合出現，而且創作密度似乎比歌手更高。於組合、樂隊百花爭鳴的上世紀八十年代，「赤道」便打著福音樂隊的旗幟而來，推出《有情天地》、《赤道》和《隱藏的太陽》等專輯，漸漸為人認識，雖然「歌途」並不長久，但在幾乎全以情歌掛帥的本地主流樂壇來說，主題獨特的「赤道」已算是不可多得的福音樂隊。
到了上世紀九十年代，張崇基、張崇德兩兄弟彷彿繼承「赤道」於主流樂壇的「神聖任務」，雖然不像「赤道」純粹演繹福音歌曲，但張氏兄弟一直堅持努力遊走於流行音樂與福音歌曲之間，並創作了《耶穌豈是凡人》、《陶造我一生》、《愛裏重圓》等多首福音作品。此外，他們每次在演唱會演出時，都會獻唱一、兩首福音歌曲。
及至二十一世紀，自言受著「赤道」影響、在基督教家庭成長的兄弟班鍾一匡和鍾一諾，早於本年七月推出《鐘聲》大碟，以傳揚福音和呼籲基督徒關心社會為題旨。他們還邀來三位福音歌手羅敏莊、鄧婉玲與Howard McCrary合唱，而《鐘聲》的製作經費亦得到教內人士設立的基金支持。
在銀幕上是冷面笑匠的前「達明一派」成員劉以達，表示自信主以後，戒掉了許多壞習慣，生活作息變得十分規律，每逢周日也上主日崇拜。早前他組成了新樂隊Love Mission，並於六月自資出版專輯《劉以達@Love Mission》，收錄包括《與主同行》、《大能大愛》等六首福音歌曲。其實「達哥」在樂壇的人脈關係不俗，亦擁有知名度，實能把Love Mission打造成新「赤道」，只是過往曾與他組成的組合，最終都解散收場，Love Mission會否維持下去，為福音歌曲打造另一片天空，豐富本地樂壇，還是未知之數。
報導來源:星島日報
Labels: Henry Chung, Hins Cheung, HK music industry, Howard McCrary, Mimi Lo, Mimi Tang, Peco Chui, Roger Chung, Sammi Cheng, Tats Lau, The Chimes, 星島日報, 鍾一匡, 鍾一諾, 鐘聲
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Tuesday, November 03, 2009
From Giloun's blog: 《鐘聲》是香港基督教歌曲很成功的嘗試，也是對敬拜讚美詩歌之外的貢獻!
Original post can be read here.
行公義、好憐憫
"行公義、好憐憫"是出自《鐘聲》(http://www.hkchimes.com/ch/the-album/)大碟的其中一首好歌。大碟的歌有很多不同的風格，是基督徒歌曲的一個很好也(在音樂上)很成功的嘗試，其中很喜歡Henry的籃調口琴(blues harmonica)，使我心癢癢也想由抽屜中找出己久違了的blues口琴bend幾嘴。另一方面，大碟難得的除了音樂上的突破，還有內容上也有注重對社會問題的關注，算是對香港基督教敬拜讚美詩歌之外的貢獻。Good!
「世人哪，耶和華已指示你何為善。他向你所要的是甚麼呢？只要你行公義、好憐憫、存謙卑的心，與你的 神同行。」舊約聖經彌迦書第六章第8節
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行公義、好憐憫
"行公義、好憐憫"是出自《鐘聲》(http://www.hkchimes.com/ch/the-album/)大碟的其中一首好歌。大碟的歌有很多不同的風格，是基督徒歌曲的一個很好也(在音樂上)很成功的嘗試，其中很喜歡Henry的籃調口琴(blues harmonica)，使我心癢癢也想由抽屜中找出己久違了的blues口琴bend幾嘴。另一方面，大碟難得的除了音樂上的突破，還有內容上也有注重對社會問題的關注，算是對香港基督教敬拜讚美詩歌之外的貢獻。Good!
「世人哪，耶和華已指示你何為善。他向你所要的是甚麼呢？只要你行公義、好憐憫、存謙卑的心，與你的 神同行。」舊約聖經彌迦書第六章第8節
Labels: blues harmonica, Henry Chung, Roger Chung, The Chimes, 行公義、好憐憫, 鍾一匡, 鍾一諾, 鐘聲
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Sunday, November 01, 2009
From 3C Music: 鍾氏兄弟福音大碟【鐘聲】仍佔榜首，支持者實在不乏忠心聽眾!
Original post can be found here.
十月可謂暫時唱片界最繁忙的一個月，能夠成功取得廿五位樂迷或以上投票的唱片有十二張，是上個月的三倍。其中最受歡迎的是何韻詩【Heroes】，獲八十六人投票，平均分亦達8.4，口碑不錯；而藍奕邦的【邦】暫時排名最高，有8.8分，但僅得廿五人評分。月尾剛推出的唱片像王菀之【On Wings of time】與林宥嘉【感官/世界】亦有八分以上評分。樂迷與3C筆者一樣不滿意楊千嬅【原來過得很 快樂】的質素，平均分是5.6，站在評分榜內的尾位，亦証明樂有雪亮的耳朵不會盲目支持歌手。
至於所有專輯中，關淑怡【Shirley’s Era】與鍾氏兄弟的福音大碟【鐘聲】齊獲9.0分齊佔榜首，後者一月內更增一百零二人投票，【鐘聲】的支持者實在不乏忠心聽眾。陳偉霆William的【Warrior】多了四人評分，比上個月再下跌0.1分，僅得3.1分，繼續穩首榜尾。
你又有什麼意見？
樂手 專輯 日期 票數 平均評分
鍾氏兄弟 【鐘聲The Chimes】 2009-07 263(+102) 9.0(- 0.1)
陳奕迅 【上五樓的快活】
2009-09 45(+20) 8.4(- 0.6)
關淑怡 【Shirley’s Era】 2009-06 100(+ 9) 9.0
Please continue to vote for The Chimes here.
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十月可謂暫時唱片界最繁忙的一個月，能夠成功取得廿五位樂迷或以上投票的唱片有十二張，是上個月的三倍。其中最受歡迎的是何韻詩【Heroes】，獲八十六人投票，平均分亦達8.4，口碑不錯；而藍奕邦的【邦】暫時排名最高，有8.8分，但僅得廿五人評分。月尾剛推出的唱片像王菀之【On Wings of time】與林宥嘉【感官/世界】亦有八分以上評分。樂迷與3C筆者一樣不滿意楊千嬅【原來過得很 快樂】的質素，平均分是5.6，站在評分榜內的尾位，亦証明樂有雪亮的耳朵不會盲目支持歌手。
至於所有專輯中，關淑怡【Shirley’s Era】與鍾氏兄弟的福音大碟【鐘聲】齊獲9.0分齊佔榜首，後者一月內更增一百零二人投票，【鐘聲】的支持者實在不乏忠心聽眾。陳偉霆William的【Warrior】多了四人評分，比上個月再下跌0.1分，僅得3.1分，繼續穩首榜尾。
你又有什麼意見？
樂手 專輯 日期 票數 平均評分
鍾氏兄弟 【鐘聲The Chimes】 2009-07 263(+102) 9.0(- 0.1)
陳奕迅 【上五樓的快活】
2009-09 45(+20) 8.4(- 0.6)
關淑怡 【Shirley’s Era】 2009-06 100(+ 9) 9.0
Please continue to vote for The Chimes here.
Labels: 3C Music, The Chimes, 鐘聲
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Chung Meets Pao Round III November 14, 9 p.m.
Mark your calendar!
14 Nov 2009 (Sat)
Chung Meets Pao Round III
A Night of Chicago Blues - November 14th, 2009 at 9:00pm.
Lineup:
Genevieve Marentette (Vocals)
Eugene Pao (Guitar)
Henry Chung (Harmonica)
Johnny Campo (Trumpet)
Charles Huntley (saxophone)
Jesrael Lucero (keyboards)
Tsang Tak Hong (upright bass)
Melchior Sarreal (drums)
$188 for adults (including 1 free drink)
$88 for students (including 1 soft drink)
Tickets are avilable from Grappa's Cellar.
Grappa's Cellar
Central
Jardine House,
1 Connaught Place,
Central, Hong Kong
Reservation
Call (852) 2521-2322
Check out website here.
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14 Nov 2009 (Sat)
Chung Meets Pao Round III
A Night of Chicago Blues - November 14th, 2009 at 9:00pm.
Lineup:
Genevieve Marentette (Vocals)
Eugene Pao (Guitar)
Henry Chung (Harmonica)
Johnny Campo (Trumpet)
Charles Huntley (saxophone)
Jesrael Lucero (keyboards)
Tsang Tak Hong (upright bass)
Melchior Sarreal (drums)
$188 for adults (including 1 free drink)
$88 for students (including 1 soft drink)
Tickets are avilable from Grappa's Cellar.
Grappa's Cellar
Central
Jardine House,
1 Connaught Place,
Central, Hong Kong
Reservation
Call (852) 2521-2322
Check out website here.
Labels: blues, blues harmonica, Chung Meets Pao, Eugene Pao, Grappa's, Henry Chung, HK Blues Allstars
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