Sunday, October 31, 2010
If you love me....
Please come to this show!
MARK YOUR CALENDAR NOW!
Nov 20 (Sat) at Grappas Cellar
CHUNG MEETS PAO ROUND IV!
The 2010 Blues Event of the Year! Don't miss!
The lineup is:
Eugene Pao (Guitar)
Henry Chung (Harmonica)
Blaine Whittaker (alto sax)
Mark Henderson (Trumpet)
Vincent Lam (Guitar)
Jason Cheng (Keyboards)
Rayvaughn Covington (Bass)
Joel Haggard (drums)
Special guests:
Peter Ng (Superstar Guitarist from Ramband & Chyna)
and surprise guest!
Grappa's Cellar
Jardine House,
1 Connaught Place,
Central, Hong Kong
$228 for adults (including 1 free drink)
Reservation
Call (852) 2521-2322
Labels: blues, blues harmonica, Eugene Pao, Grappa's, Henry Chung, Superband
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Wednesday, July 07, 2010
My harmonica playing is featured on this commercial!
Sunday, December 06, 2009
天鳥 - 盧冠廷 featuring Henry Chung on harmonica)
Friday, December 04, 2009
From 有線電視《拉近文化》- 爵士與藍調 4 : 藍調口琴
爵士與藍調 4 : 藍調口琴
簡單一個「口琴」，充滿藍調靈魂，加上木結他的合奏，一彈一奏，盡顯美國南部鄉村藍調的魅力。《拉近文化》介紹最後一集藍調，節目將邀請香港著名藍調口琴家－鍾一匡，一同分享藍調音樂，深入感受「藍調口琴」帶出的哀怨纏綿。
To watch, please click here.
Labels: authentic blues, blues, blues harmonica, Edward Chun, Henry Chung, 精緻文化, 鍾一匡
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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
-------------------------------------------------------------------------------------
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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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
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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Wednesday, May 13, 2009
Even more comments on harmonica
Re: Anthony Wong:
"是当“广深公路”里的口琴声响起的时候，才发觉“黄耀明”其实不必然等于复杂的编排和大量的电子变声。虽然没有林一峰的清新，但结他+鼓的编排和中间点睛的口琴演奏，却比林一峰的“红河村”有更浓的怀旧感，像是回到了达明的年代，好像旁边那个又弹结他又吹口琴忙得不亦乐乎家伙的就是刘以达一样。"
"打頭陣的＜廣深公路＞大概最能代表全碟的風格，Ellen 的acoustic guitar 伴著基爵的pedal steel guitar 及曼陀林（mandolin），再加上口琴、低音結他和鼓等，編成非常鄉謠的歌曲。"
Re: Lolo:
"盧冠廷花了很多心機去重新編撰演唱會的編曲，有一些則用另一方式演繹，大概想去除一般人心中覺得古怪的感覺，例如加入blues口琴的「天鳥」，節奏和二胡都加重分量的「快樂老實人」。還好，沒有夏韶聲的盲目「諳」化，盧冠廷追求的是實淨的聲音，豁達的表現
"一踏入場入面,見到成場滿晒觀眾,盧先生正係度表演2050前一首歌,每一下鼓聲,歌聲,結他聲,口琴聲,都震撼住我心靈。"
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"是当“广深公路”里的口琴声响起的时候，才发觉“黄耀明”其实不必然等于复杂的编排和大量的电子变声。虽然没有林一峰的清新，但结他+鼓的编排和中间点睛的口琴演奏，却比林一峰的“红河村”有更浓的怀旧感，像是回到了达明的年代，好像旁边那个又弹结他又吹口琴忙得不亦乐乎家伙的就是刘以达一样。"
"打頭陣的＜廣深公路＞大概最能代表全碟的風格，Ellen 的acoustic guitar 伴著基爵的pedal steel guitar 及曼陀林（mandolin），再加上口琴、低音結他和鼓等，編成非常鄉謠的歌曲。"
Re: Lolo:
"盧冠廷花了很多心機去重新編撰演唱會的編曲，有一些則用另一方式演繹，大概想去除一般人心中覺得古怪的感覺，例如加入blues口琴的「天鳥」，節奏和二胡都加重分量的「快樂老實人」。還好，沒有夏韶聲的盲目「諳」化，盧冠廷追求的是實淨的聲音，豁達的表現
"一踏入場入面,見到成場滿晒觀眾,盧先生正係度表演2050前一首歌,每一下鼓聲,歌聲,結他聲,口琴聲,都震撼住我心靈。"
Labels: Anthony Wong, blues harmonica, PMPS
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Friday, February 27, 2009
I found more comments on 廣深公路
"主打的《廣深公路》不僅曲子的題目讓人熟悉，調子也那麼誘人。中間一串口琴聲，勾得人心都癢癢的，慵懶而淋漓盡致，藍天、公路和一輛破舊的福特馬上浮現於人眼。"
"你對現在置身的這一國度的關注較以往更為深廣，從開始的《廣深公路》蕩漾著口琴和吉他的鄉村民謠里，到終結的《107國道》，異語同曲，同一冷酷時代。"
"《廣深公路》只是一個起點，口琴、曼陀鈴、箱琴等原音樂器的加入，讓專輯在帶著希冀的懷疑中出發。"
"而主打歌《廣深公路》則顯得曲調輕鬆淡雅，融合了鄉村民謠的風格，末尾處甚至運用了口琴，讓人耳目一新。"
"《廣深公路》裡面的口琴，可有一種小俏皮。"
"口琴蕩漾，這是一種最為純粹和乾淨的樂器，在夜色中是不是也能夠也如此簡單的勾描出我們的心意呢？《廣深公路》上飛馳的夢，合著歡笑和眼淚，像是我們彼此深情凝望的眼神。"
"主打歌《廣深公路》一開始的吉他和鼓點經過LO-FI的蒙版，布魯斯口琴和空心吉他失真的懷舊音色層層疊疊，標準的美國民謠編配。"
"其实《廣深公路》也没那么差劲，起码编曲上我还是很喜欢的（后面那段口琴和沙沙作响的吉他声）。"
"遙遠處泛著橘黃色的溫暖光，明哥漫步在《廣深公路》. ... 搖曳夏威夷海風的《107國道》就在我家門前經過，穿越經歷好天氣壞天氣的107國道，口琴帶著明哥一路溫暖回家."
"但願一齊執起吉他、拿起口琴，跟明哥暢遊於公路上。"
And on the at-17 EP:
"小品《那年十七歲》吉他口琴奏出愜意，好一份at 17的特殊情懷。"
And on the Lolo concert:
"紅色裇衫個男人唔知叫咩名但聽聞去過美國學音樂拒吹口琴好勁。"
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"你對現在置身的這一國度的關注較以往更為深廣，從開始的《廣深公路》蕩漾著口琴和吉他的鄉村民謠里，到終結的《107國道》，異語同曲，同一冷酷時代。"
"《廣深公路》只是一個起點，口琴、曼陀鈴、箱琴等原音樂器的加入，讓專輯在帶著希冀的懷疑中出發。"
"而主打歌《廣深公路》則顯得曲調輕鬆淡雅，融合了鄉村民謠的風格，末尾處甚至運用了口琴，讓人耳目一新。"
"《廣深公路》裡面的口琴，可有一種小俏皮。"
"口琴蕩漾，這是一種最為純粹和乾淨的樂器，在夜色中是不是也能夠也如此簡單的勾描出我們的心意呢？《廣深公路》上飛馳的夢，合著歡笑和眼淚，像是我們彼此深情凝望的眼神。"
"主打歌《廣深公路》一開始的吉他和鼓點經過LO-FI的蒙版，布魯斯口琴和空心吉他失真的懷舊音色層層疊疊，標準的美國民謠編配。"
"其实《廣深公路》也没那么差劲，起码编曲上我还是很喜欢的（后面那段口琴和沙沙作响的吉他声）。"
"遙遠處泛著橘黃色的溫暖光，明哥漫步在《廣深公路》. ... 搖曳夏威夷海風的《107國道》就在我家門前經過，穿越經歷好天氣壞天氣的107國道，口琴帶著明哥一路溫暖回家."
"但願一齊執起吉他、拿起口琴，跟明哥暢遊於公路上。"
And on the at-17 EP:
"小品《那年十七歲》吉他口琴奏出愜意，好一份at 17的特殊情懷。"
And on the Lolo concert:
"紅色裇衫個男人唔知叫咩名但聽聞去過美國學音樂拒吹口琴好勁。"
Labels: Anthony Wong, blues harmonica
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Wednesday, February 25, 2009
Growing up in one night
This is a song that I'm quite proud of. It features my harmonica in the best light. Who says Cantopop is dead? Who says Andy Lau's career is over? This is one of the best Andy Lau songs in the past 20 years. Enjoy!
Labels: Andy Lau, blues harmonica
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Monday, May 19, 2008
Consolidated Lolo concert reviews
Found the following entries on the internet:
"岩岩睇完盧冠廷演唱會..佢唱左 Bob Dylan "Blowing In The Wind" .. 仲有跟 Mr. Henry Chung 藍調口琴夾左首"天鳥".. 好聽!" -小丁
"2050盧冠廷演唱會
唔應該用[演唱會],用[音樂會]仲貼切D.
唔係聽唱功,而係聽音樂,好少concert有咁正既!
成個show,冇靚衫,只得1件白恤牛仔褲,冇dancer,但
有全港至正既夢幻band組合,加埋似個sauna房既舞台[全部用木砌]
再加靚燈光,口琴,二胡,風琴...一個字~~正!
何况仲有咁多金曲" -旅遊達人
"盧冠廷獨唱很動人，拉二胡的呢位女士跟LoLo的合作很精彩，吹口琴的也很棒，全場最驚喜的是嘉賓李宗盛跟LoLo的合作" -瑪姬
"全場音樂做得好好,口琴同二胡演奏的2 首歌,掂." -Rico
"是場表演嘉賓有林子祥先生、李宗盛先生、徐小鳳小姐及一位吹mouth harp的朋友 (忘記了他的名字，盧先生表示他是特意進入美國華盞頓黑人區學習吹奏mouth harp的，難怪那麼有feel……很喜歡天鳥的arrangement." -PPM
"今次的演唱會有多位資深歌手和音樂人參與演出，包括有林子祥、Joey Tang、蘇德華、李宗盛、徐小鳳、Henry Chung (Sonny Boy) 及A-day相繼助陣，每位嘉賓都落力演出，不賣弄花巧，純以歌曲和音樂獻給觀眾。" -白馬
Photo courtesy of TAT
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"岩岩睇完盧冠廷演唱會..佢唱左 Bob Dylan "Blowing In The Wind" .. 仲有跟 Mr. Henry Chung 藍調口琴夾左首"天鳥".. 好聽!" -小丁
"2050盧冠廷演唱會
唔應該用[演唱會],用[音樂會]仲貼切D.
唔係聽唱功,而係聽音樂,好少concert有咁正既!
成個show,冇靚衫,只得1件白恤牛仔褲,冇dancer,但
有全港至正既夢幻band組合,加埋似個sauna房既舞台[全部用木砌]
再加靚燈光,口琴,二胡,風琴...一個字~~正!
何况仲有咁多金曲" -旅遊達人
"盧冠廷獨唱很動人，拉二胡的呢位女士跟LoLo的合作很精彩，吹口琴的也很棒，全場最驚喜的是嘉賓李宗盛跟LoLo的合作" -瑪姬
"全場音樂做得好好,口琴同二胡演奏的2 首歌,掂." -Rico
"是場表演嘉賓有林子祥先生、李宗盛先生、徐小鳳小姐及一位吹mouth harp的朋友 (忘記了他的名字，盧先生表示他是特意進入美國華盞頓黑人區學習吹奏mouth harp的，難怪那麼有feel……很喜歡天鳥的arrangement." -PPM
"今次的演唱會有多位資深歌手和音樂人參與演出，包括有林子祥、Joey Tang、蘇德華、李宗盛、徐小鳳、Henry Chung (Sonny Boy) 及A-day相繼助陣，每位嘉賓都落力演出，不賣弄花巧，純以歌曲和音樂獻給觀眾。" -白馬
Photo courtesy of TAT
Labels: 2050 Concert, blues harmonica, Bob Dylan, Lowell Lo
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Sunday, November 11, 2007
Moral support
Wow! Haven't updated in awhile. Work has occupied 90% of my time. Musically, I've come to the tip of an iceberg. I haven't been able to create anything groundbreaking lately. Fortunately, the live shows been up to my personal standard. I was really pleased with the Philia show. I didn't go out of my way to play my guts out, but for what I was doing, I put a lot of restraints into my soul. It turned out to be enjoyable, cuz I didn't overdo it.
And then I was told by half a dozen people that they really enjoyed our Kubrick Live show (one even told me it was the best concert she's been into in awhile), which gave me some reassurance and comfort. Here were some comments I found on the web:
From WinKris:
"今晚，欣賞左一場好聽好睇的音樂會。
係油麻地Kubrick Cafe演出geh "Henry Chung & The HK Blues Allstars"。
第一次係現場聽藍調，感覺好新鮮。Henry真係一個好出色geh口琴手，唔係真係係現場睇，真係感受唔到果種感覺，真係好正。可惜今晚的場地無酒飲，如果飲埋酒會更加high。
下次geh演出，都會再去~~"
From Lolita Summer:
"上星期五的Kubrick Friday Live
終於是真正的jazz~
Henry Chung & The HK Blues Allstars
非常非常精彩!
Jazz的確是兼容並蓄的音樂
幾乎任何樂器也能加入
以前聽過以海螺吹奏jazz
不過口琴也是第一次呢
樂手在台上自得其樂
隨著心情氣氛即興演奏
不計較拍子 不用跟樂譜
各自各精彩 又能配合得天衣無縫
Mood is everything~
永遠那麼隨意 那麼playful
愛上jazz是不是物以類聚的原理呢?"
Today I'm going to play at a good friend's birthday party. Wednesday at a kickoff party to raise fund for children with cancer. And then Saturday the big show at Grappa's.... I'm going to play my best. I can't wait to play!
Hope you will support me, whether in presence or in spirit.
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And then I was told by half a dozen people that they really enjoyed our Kubrick Live show (one even told me it was the best concert she's been into in awhile), which gave me some reassurance and comfort. Here were some comments I found on the web:
From WinKris:
"今晚，欣賞左一場好聽好睇的音樂會。
係油麻地Kubrick Cafe演出geh "Henry Chung & The HK Blues Allstars"。
第一次係現場聽藍調，感覺好新鮮。Henry真係一個好出色geh口琴手，唔係真係係現場睇，真係感受唔到果種感覺，真係好正。可惜今晚的場地無酒飲，如果飲埋酒會更加high。
下次geh演出，都會再去~~"
From Lolita Summer:
"上星期五的Kubrick Friday Live
終於是真正的jazz~
Henry Chung & The HK Blues Allstars
非常非常精彩!
Jazz的確是兼容並蓄的音樂
幾乎任何樂器也能加入
以前聽過以海螺吹奏jazz
不過口琴也是第一次呢
樂手在台上自得其樂
隨著心情氣氛即興演奏
不計較拍子 不用跟樂譜
各自各精彩 又能配合得天衣無縫
Mood is everything~
永遠那麼隨意 那麼playful
愛上jazz是不是物以類聚的原理呢?"
Today I'm going to play at a good friend's birthday party. Wednesday at a kickoff party to raise fund for children with cancer. And then Saturday the big show at Grappa's.... I'm going to play my best. I can't wait to play!
Hope you will support me, whether in presence or in spirit.
Labels: blues, blues harmonica, Grappa's, HK Blues Allstars
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Tuesday, October 23, 2007
Found another Chinese article about me....
They just keep coming. This one is from "Catman."
"很多人認為聽爵士樂(Jazz)或藍調(Blues)是很"另類",甚至很"扮嘢",就正如說自己喜歡Classical Music一樣高檔.
現在很多中.小學校都有管弦樂團,所以很多青少年很早便有機會接觸Classical music,甚至Swing等.其實在香港,聽Jazz和Blues的人也越來越多,當中有很多也是學生.這真是要多謝一班本港業餘/全職樂手(Jazz,Blues),因他們演出的地點除了高級會所和酒吧外,也會選擇在Fringe Club和Kubric,使這類音樂更普及化.
其實當知道藍調音樂是起源於美國黑奴,便知道這根本是平民和窮人的音樂,又何來"高擋"(本人絕無貶低黑奴,黑人之意).而爵士樂源自藍調,也是黑人和窮人的音樂.况且很多外國歌手和Band都受到了Blues的影響,在很多作品中都帶有Blues的味道.最較人熟識的有Eric Clapton, Cream, Led Zeppelin, The Rolling Stones和Janis Joplin等.
若有興趣,不妨於10月12號晚10:30pm到Fringe Club,又或者於11月2號晚10:00pm到Kubric,到時將有Henry Chung & the HK Blues Allstars演出.順帶一提,這班本地樂手(業餘/全職)中怱猛人,就以Henry Chung為例,日間是律師的他被喻為美國華盛頓最Top的Blues樂手之一,在港更與首席Blues Harmonica 樂手William Tang(現已回英國發展)齊名.
希望到時見到大家."
Original post can be found here.
This is getting more and more encouraging.
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"很多人認為聽爵士樂(Jazz)或藍調(Blues)是很"另類",甚至很"扮嘢",就正如說自己喜歡Classical Music一樣高檔.
現在很多中.小學校都有管弦樂團,所以很多青少年很早便有機會接觸Classical music,甚至Swing等.其實在香港,聽Jazz和Blues的人也越來越多,當中有很多也是學生.這真是要多謝一班本港業餘/全職樂手(Jazz,Blues),因他們演出的地點除了高級會所和酒吧外,也會選擇在Fringe Club和Kubric,使這類音樂更普及化.
其實當知道藍調音樂是起源於美國黑奴,便知道這根本是平民和窮人的音樂,又何來"高擋"(本人絕無貶低黑奴,黑人之意).而爵士樂源自藍調,也是黑人和窮人的音樂.况且很多外國歌手和Band都受到了Blues的影響,在很多作品中都帶有Blues的味道.最較人熟識的有Eric Clapton, Cream, Led Zeppelin, The Rolling Stones和Janis Joplin等.
若有興趣,不妨於10月12號晚10:30pm到Fringe Club,又或者於11月2號晚10:00pm到Kubric,到時將有Henry Chung & the HK Blues Allstars演出.順帶一提,這班本地樂手(業餘/全職)中怱猛人,就以Henry Chung為例,日間是律師的他被喻為美國華盛頓最Top的Blues樂手之一,在港更與首席Blues Harmonica 樂手William Tang(現已回英國發展)齊名.
希望到時見到大家."
Original post can be found here.
This is getting more and more encouraging.
Labels: blues harmonica, Chicago blues, HK Blues Allstars
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Saturday, October 20, 2007
On HKEJ!
