Musicians Guitars John Scofield Vocals Dean Bowman Bass Ruben Rodriguez Keyboards Gary Versace Drums Steve Hass Ken Schles The audio equipment is spon

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2 Concert Hall, Hong Kong Cultural Centre 1 30 Running time: approximately 1 hour 30 minutes with no interval To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation. John Scofield Plays the Music of Ray Charles Musicians Interview Biographies Words and Music with John Scofield Ray Charles 26 John Scofield Dean Bowman Gary Versace Ruben Rodriguez Steve Hass 28 29

3 Musicians Guitars John Scofield Vocals Dean Bowman Bass Ruben Rodriguez Keyboards Gary Versace Drums Steve Hass Ken Schles The audio equipment is sponsored by Meet-the-Artist (Post-Performance) ( Fri) If you would like to meet John Scofield, please stay behind in the auditorium after the performance Cover image Jason Tanaka Blaney 7

4 Interview Ken Schles 11

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6 Interview Words and Music with John Scofield by Charles Martin Your touring band is different from the one that played on your record. Is that giving you a different sound? Yes. You wouldn t want to copy the arrangements on the record. Everyone brings their individual touch to the music, and I think the music changes over time. But we ve been playing together for months, and in a way we know each other better than the musicians that appeared on the record. We re taking more solos, jazzing it up more. We re also doing other Ray Charles songs that aren t on the CD, like Let the Good Times Roll and Hallelujah, I Love Her So. Normally do you take music on the road before you record? Normally, yes. But That s What I Say was an all-star record, with big star singers, and the rhythm section were all studio players. Normally a recording is road-tested beforehand. But on the tour we ve elaborated and stretched it out. I ve had some other ideas since we started, and you know our bass player, Ruben Rodriguez, is from the Latin jazz scene. So when we play What d I Say, it gets even further into an Afro-Cuban thing. In our arrangement of Hit the Road Jack, the studio players were more comfortable in the R&B style. But on the road, our band can swing. Talk about Ray. I was a blues guitarist first, when I was about 13. I heard Ray Charles on the radio, in the 1960s, when he was a big pop star. I loved it. Then I got some of his earlier stuff, when I was a teenager, and I just loved that too. He taught me about jazz and soul music, and showed that they were related. I think he influenced all of us. 14 But lots of jazz players start with pop or soul, and move on. You ve kept the connection in your music. I ve always been into both jazz and soul music. There have always been bluesy jazz players. I ve always loved the blues. It s part of my sound.

7 Verve came to you with the idea of doing the Ray Charles tribute. Yeah, and I was ready to shoot em down. I m like, I m an artist don t tell me what to do! Then I thought that this could be cool. If I were a pianist or singer I never would have done it, just as I d be hard pressed to do a tribute to my favourite guitar players, because I d want to copy them. There s no way I can copy Ray Charles. But here s this great body of music that can be arranged and messed with, because it s folkloric, bluesy stuff. That s the type of stuff that s fun to arrange and rearrange. Could you ever see doing a tribute to anyone else? Sure. But it would have to be something as all-encompassing as Ray. With Ray, there s so much for a jazz artist to choose from. I really got into it musically, and so did all the people. I ve never really done that with singers before that was a blast. I love singers and songs. I get really bummed out with multi-noted jazz solos one after the other all the time. That could be the curse of jazz. It s great to work with a singer to offset that. You mentioned that some live recordings affected you deeply: Bill Evans Sunday at the Village Vanguard, Sonny Rollins A Night at the Village Vanguard, Jim Hall Live!, and Coltrane s Live at the Village Vanguard. Did any concerts ever make that kind of difference to you? Monk at the Vanguard, that blew me away. I heard Miles with Jarrett at the Jazz Workshop in Boston. I also heard Sly and the Family Stone when they first came out, in a small club. That was magic. When I went to Berklee College of Music in Boston, I went to the Jazz Workshop every week. I heard all the groups that were playing in 1970 Miles, Stan Getz, McCoy Tyner s early band, the first Weather Report. I heard the Bill Evans trio many times. Also Horace Silver s Band with the young Brecker Brothers. George Benson would come through with his band... Not surprisingly, the word eclectic comes up in conversations about your style. You know, I ve always had one band that was a funk project, and one that s more straight ahead. This band is pretty good at combining both. Part of it is the width and breadth of Ray s repertoire that allows us to play bebop and funk. Before now I ve always kept them separate. That s how you got the eclectic label. Right. On the gig, we re integrating them. The rhythm section can swing and they can funk out. I love to swing and do the funky stuff too it s great fun to do it all in one night. 15

8 ( ) Ray Charles Biography

9 the Maxim Trio, a group grounded in the style of Nat King Cole. In 1952 Charles gave up the Nat King Cole stylisation and began adapting gospel music techniques to blues lyrics, and soon had a hit with It Should Have Been Me. Through the 1950s he had hits on the R&B and pop charts with I ve Got a Woman, A Fool for You, Drown In My Own Tears, Hallelujah I Love Her So and Lonely Avenue. He also became popular with jazz fans performing a set at the Newport Jazz festival in 1959 and established himself as a pioneer of soul music with his own composition What I Say. Ray Charles distinctive, emotionallycharged style made him one of the most influential musicians of the 20th century. His revolutionary addition of high-energy gospel vocals to R&B was, to a large degree, responsible for the development of soul music. Born in Albany, Georgia, in 1930, Ray Charles Robinson grew up in Greenville, Florida. He began to loose his sight from glaucoma at the age of six and from 1937 to 1945 he attended the St Augustine School for the Deaf and Blind. There he learned to play the piano and later the clarinet and alto saxophone, composed for big bands, as well as learning to read and write music in Braille. Orphaned at 15, Charles struck out on his own performing in bands around Florida and at the age of 17 he moved to Seattle. There he formed Through 1961 he had top pop hits with Georgia on My Mind, Hit the Road Jack, Ruby and Unchain My Heart. In 1962 Charles formed Ray Charles Enterprises, which comprised of Tangerine Records, Tangerine Music and Racer Music Company opening studios and offices in Los Angeles. Throughout the rest of his career, Charles was often in the public eye touring, writing and making frequent appearances on television and in the movies. Charles was inducted into the Blues Foundation s Hall of Fame in 1982 and the Rock and Roll s Hall of Fame in its inaugural year In 1992 President Bill Clinton awarded him the National Medal of Arts. Ray Charles was one of the most important influences on popular music. His passionate singing and intelligent melding of different genres has been cited as an influence by stars from The Beatles to Van Morrison. Frank Sinatra called him the only genius in the business. Ray Charles died on 10 June

10 Ken Schles John Scofield is one of the big three of current jazz guitarists (along with Pat Metheny and Bill Frisell) whose influence began in the late 1970s. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz and R&B. John Scofield was born in Ohio in December 1951 and raised in Wilton, Connecticut. He began studying guitar at age 11 and was playing professionally in rock bands from the age of 13. Already a jazz lover, he attended Berklee College of Music in Boston from After a debut recording with Gerry Mulligan and Chet Baker at Carnegie Hall, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus and joined the Gary Burton quartet, beginning his

11 Biography international career as a bandleader and recording artist in During John Scofield toured the world and recorded with Miles Davis, which placed him firmly in the foreground of jazz consciousness. Since that time he has led his own groups, recorded over 30 albums as a leader in the company of such major players as Charlie Haden, Pat Metheny, Jack DeJohnette, Joe Lovano and Eddie Harris. Scofield has also played with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Charle Mingus, Dave Holland and Terumasa Hino among other jazz legends. Scofield started a relationship with the Verve label in 1996 with his acoustic album, Quiet. Throughout his career John Scofield has punctuated his traditional jazz offerings with funk-oriented electric music, including the commercial hit A Go Go with Medeski, Martin and Wood in Works for Me, recorded in 2001, included Brad Mehldau on piano and featured a more traditional jazz sound. In 2002 Scofield s Uberjam and the following Up All Night returned to his funkier side. Of his latest recordings, the critically acclaimed En Route, released in 2004, is a live recording of the John Scofield Trio featuring Steve Swallow and Bill Stewart. Also released in 2004, Scorched is an orchestral piece (SCO ORCHestratED) composed by Scofield and Mark-Anthony Turnage providing another window into his varied talent. That s What I Say John Scofield Plays the Music of Ray Charles released in June 2005, is Scofield s first recording with singers. Touring approximately 200 days a year with his own groups, Scofield is also member of the co-led group The Beyond Trio Celebrating Tony Williams Lifetime with Jack DeJohnette and Larry Goldings. In his free time, Scofield is an Adjunct Professor of Music at New York University. 27

12 Biographies Dean Bowman Vocals 1963 ) ) 2 Born in 1963, Dean Bowman is a native New Yorker and without a doubt, one of the most prominent contributors to the New York City avant garde music scene. Hailed by Sue Mingus as the most important jazz vocalist since Bobby McFerrin, Bowman is a highly accomplished and eclectic vocalist, transcending the genres of jazz, gospel and hard rock. Bowman has performed and recorded with Don Byron, Lester Bowie, Uri Caine, Jane Bunnett, Elliott (E#) Sharp, Stanley Cowell, Dewey Redman, Charlie Hunter Quartet, Larry Cramer, Fima Ephrom, Danny Sadownick, JoJo Mayer and John Scofield among others. Dean Bowman performs spell-binding solo concerts of traditional Black spiritual and early gospel music. In addition to his solo performances, Bowman is associated with various ensembles, which include TriFunkTory, Soul Trilogy, Bopskool, the Black Spirituals Quintet (with pianist and arranger James Weidman), and Ten Ballads duo (with pianist Nikolaj Hess). Dean Bowman s voice is also featured in the Sony Playstation game PaRappa the Rapper 2. Gary Versace Keyboard Born in 1968, Gary Versace was raised in Greenwich, Connecticut. He is a 1991 graduate of the University of Connecticut and received a Master s degree from the Eastman School of Music at the University of Rochester in Versace was a professor of Music at the University of Oregon-Eugene from 1993 to Following his years in Oregon, Versace moved to New York City to begin a career as a performer. Since his move, he has performed and recorded with Marian McPartland, John Abercrombie, Matt Wilson, Maria Schneider and John Scofield, as well as with countless ensembles throughout the greater New York area. 28

13 Ruben Rodriguez Bass 1979 Ruben Rodriguez was born in New York City and grew up in East Harlem and Puerto Rico. He has been recognised as one of the best and hardest working Latin music bass players in the US. Rodriguez, whose father played the classical guitar, taught himself the bass in junior high school, later spending time under the tutelage of the esteemed bassist Victor Venegas. Since getting his first big break playing with Johnny Colon in 1979, he has worked with Grover Washington Jr, Roberta Flack, Tito Puente, Gato Barbieri, John Scofield, Tito Rojas, Luis Ramirez, Ray de la Paz, Willie Colon, Dave Valentin, Charlie and Eddie Palmieri, Hilton Ruiz, Johnny Pacheco, Jose Fajardo, The Fania All Stars, and the late, great Machito. His exhaustive discography includes work with Marc Anthony, Tito Puente, Victor Manuelle, Tito Nieves, India and Africando, and most recently, Celia Cruz, Luis Enrique and the Caribbean Jazz Project. Along with his producer and friend, Sergio George, Ruben Rodriquez has been noted as revolutionising the sound of contemporary popular salsa. Steve Hass Drums Steve Hass was born in 1971 and raised in New York City by Greek immigrant parents. He graduated from the Berklee College of Music in 1997 and has since toured and recorded with Art Garfunkle, Cher, Suzanne Vega, Ravi Coltrane, Christian McBride, Richard Bona, Manhattan Transfer and John Scofield. Hass has made it a point to study music from Cuba, Africa, India and the Middle East, in addition to traditional jazz and rock. He embraces and employs all of these styles today, from jazz to hip-hop, from world music to rock, while travelling the world professionally. 29

蔡氏族譜序 2

蔡氏族譜序 2 1 蔡氏族譜 Highlights with characters are Uncle Mike s corrections. Missing or corrected characters are found on pages 9, 19, 28, 34, 44. 蔡氏族譜序 2 3 福建仙遊赤湖蔡氏宗譜序蔡氏之先出自姬姓周文王第五子