崔展鸿多年以作曲家和结他手两个身分寻找属于能代表自己最真诚、原始的声音，此专辑为他对自己音乐的第一次解说。 专辑在位于美国麻省的PBS Studios 收录，该录音室曾为格林美奖得主Esperanza Spalding, Jerry Bergonzi 录音。 Tsui Chin Hung’s debut album is a collection of 8 deeply personal and heartfelt pieces, including 6 original compositions, wrapped in the silks of classical, jazz, and oriental folk-inspired styles. “Guitar is my first instrument. As much as I love the instrument, the language of guitar centric music, I’d found myself less and less drawn to. Early on, I knew the instrument wasn’t going to guarantee a creative voice. If I was to write anything distinct from the guitaristic idiom, there wasn’t really much left. That was when I looked for abilities to articulate my innermost thoughts, approaching it compositionally is what allows that. I started to have the ideas of music I like to write, that kept me going. Having few very mentors was my chance to gain the tools to compose technically in control. Yet as every academic in music or just about anything in art, giving me tools to write was their problem, being creative was still my problem. In the process of searching for anything distinctive and personal enough, I had to monitor myself how conscious I am of that in my writings. I started to question what’s important to me, what personal meant for me. The hardest part is to give up anything that’s unintentional, anything that reminisces my music heroes. There was when I learned how to identify things that work or do not work for me, things I couldn’t rely on. The traditions are glorious and ever present, that will always be. But it never means to leave us traces of what should come next if being creative is what I’m going about. Training myself to think, to write in certain ways for that to happen, to make observations about what it was. I had to start develop my own writing techniques. Composition was and will never be a casual thing. I hope to have an identity that transcends the guitar. It was to be my first record. It had not came out in schedule, I got distracted with other stuff, hit a few walls with it. The materials were being played over and over by my group and with people I worked with over the years. It has had a big impact on me to these days. I want to put it out so that others can finally hear it after all these years. I am happy that these pieces be seeing the light of day finally.” - 崔展鸿 Tsui Chin Hung 2022 ————————————— Personnel 崔展鸿 Tsui Chin Hung - guitar Dahye Kim - flute 庄子萱 cts - clarinet Giosuè Greco - alto saxophone Jesse Francese - trumpet Yichun Teng - trombone 李潭林 Christian Tan-lin Li - piano Raphaël Pannier - drum set Seungho Jang - bass 九九 Sophie Chen - voice 郭雅志 Yazhi Guo - suona (Guest featuring on track 7) 杨淇 Kate Yeung - voice (Guest featuring on track 8) Conducted and produced by Tsui Chin Hung ————————————— Track 1《重塑 Reshape》 Composition by Tsui Chin Hung The only performance of this album that involved overdubbing, two guitars multi-tracked, as a conversation with myself. 这是专辑内唯一一首牵涉叠录的歌，希望能在专辑接下来发生的、与乐团互动的所有，先给一个聆听和回应自己乐器的机会。 Track 2《蔓延 Manyan》 Composition by Tsui Chin Hung Written in 2011. Manyan - 蔓延, means overspread in Chinese. This piece was my take on unravelling how I found clouds, water, flame, ideas, things that move slowly and carefully, things that are developed gradually and almost imperceptibly. 万物如云朵、火焰、水，概念如人与人之间好坏的关系、想法，往往都是小心翼翼、不知不觉中发展的。蔓延这首作品是我对这些有形或无形的状态，在音乐上的一个体悟。 Track 3《没懂你的轻描 Pantomime》 Composition by Tsui Chin Hung Splendour at its purest form would usually be too strong to be imperious, that’s when the water started boiling, the moment when everything comes together. 最灿烂的事，很多时候都只在脆弱时短暂停留。 Track 4《绎民歌一首 Folk song unravelled》 Folk song adapted by Tsui Chin Hung Unfurling the folk song “Mo Li Hua” with my aesthetic, tried to carve out my own ways of doing things. I am grateful to have Sophie’s vocal featured on this folk melody. 以民歌《茉莉花》为基础的编制，崔展鸿运用他建立的美学翻译该旋律。邀请了歌手 九九 Sophie Chen 参与演绎民歌原本部分。 Track 5《‘Round Midnight Variation》 Composition by Thelonious Monk Variation written by Tsui Chin Hung This piece was derived from the studies of contrapuntal writing when I was in the process of searching for anything distinctive and personal enough. It’s the only track on the album that wasn’t cut at PBS. The performance was realised by the ensemble I had back then at school. Original files of the Pro Tools recordings had been lost, a mp3 file of this take is what’s left. This performance is very dear to me, I owe it to Anthony's incomparable dedication and mastery for restoring my music to how it sounded on that very night. Recorded on October 7, 2012. Personnel: Tsui Chin Hung - guitar Stella Chuang - clarinet Lindsay Kupser - voice Ricardo Curto - piano Kazuhiro Odagiri - drum set Mauricio Morales - bass Track 6《I've Grown Accustomed to Her Face》 Music by Frederick Loewe Lyrics by Alan Jay Lerner I've grown accustomed to her face. She almost makes the day begin. I've grown accustomed to the tune that she whistles night and noon. Her smiles, her frowns, Her ups, her downs Are second nature to me now; Like breathing out and breathing in. I was serenely independent and content before we met; Surely I could always be that way again and yet I've grown accustomed to her look; Accustomed to her voice; Accustomed to her face. Track 7《智有所不明 Needle in the hay》 Composition by Tsui Chin Hung Track 8《纤巧的一刻 Maybe in a time of delicacy》 Composition by Tsui Chin Hung Lyric by Tam Mei Yin 作词：谭美然 春风 朝雨露水扑满叶飞花中转圏 泪流下滋养赤地将荒土贯穿 行云若水不会终断 然而树影怎抱得住 风吹起细沙 沙细数 数算几许清风朗月 飘飘雨烟 吹不断 沾湿一巷柏树 秋风 落黄叶终于归根兜转一个圈 树摇动风吹不息将天空贯穿 是连系一划仍是圆 能乘着风许个心愿 迷曚月色中再相遇 ————————————— Recorded on May 4, 2013 at PBS Studios in Westwood, Massachusetts. Engineered by Peter Kontrimas. Mixed by 果果 John Huang (5), Peter Kontrimas (6,7), Matthew Sim (1,2,3), 杨我华 Anthony Yeung (4,8). Mastered by 杨我华 Anthony Yeung at AYM Studio, Hong Kong. All compositions by Tsui Chin Hung. Except “Folk song unravelled” and “‘Round Midnight Variation” were adapted by Tsui Chin Hung from folk song “Mo Li Hua” and Thelonious Monk’s "'Round Midnight". “I've Grown Accustomed to Her Face” music by Frederick Loewe, lyrics by Alan Jay Lerner. All tracks except for additional guitar on “Reshape” and vocal on “Maybe in a time of delicacy” were recorded live without overdub. Photography by 阮汉威 Yuen Hon-wai Album Artwork by Victor Leung Acknowledgment: Thanks to my mentors, Irina Boutyrskaya, 蔡立恒 Frankie Choi, Jimmy Wyble, Bruce Buckingham, Brad Rabuchin, Ken Rosser, Scott Henderson, Robert Drasnin, Eímear Noone, Francine Trester, Yakov Gubanov. Not merely for music, but for general. Without them, things would be impossible. To my great colleagues and friends who supported me, Christian Tan-lin Li, Moira Lo Bianco, Yuhan Su, Mina Lavcheva, Michael Cardone, Osmar Okuma, Giosuè Greco, Lindsay Kupser, Kazuhiro Odagiri, Seungho Jang, Stella Chuang, Dahye Kim, Jesse Francese, Yichun Teng, Raphaël Pannier, Sophie Chen, Yazhi Guo, Kate Yeung, Yuduo Chen, Rong Lu, Peter Kontrimas, Yuen Hon-wai, Kung Chi Shing, Almond Yeung, Patrick Lui Pak Hei, Wong Tak Chung, Chapman So, Anthony Yeung, Joyce Cheung Pui-chih, Rocket Lee, Karen Fok, Yaya Lai, Leon Lee, Ho Ka Kit. I stand stunned in gratitude for the privilege of making music with you all. Thanks to my wife and son for their love and inspiration. My parents and sister for the ever present encouragement to spread my wings. This album is dedicated to my grandmother, 黄秀丽 Wong Sau Lai, whose live is etched in my heart.