胡璞 WooP

. 2025/07/08    HK New Jazz Voice: Woo Pok Quartet  《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》    Live sound, poetry, monologue samples, mixed noise    Size variabe    ———————————————————— 𝔻𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟   大綱：模擬一人由意識疏離至抵抗疏離至擁抱疏離的思辯過程    階段一：自然  餓了就吃；累了就睡。世界本來就如此縈繞轉動，我亦如是。內外皆就手，有何之憂？    階段二：覺察  某刻薛西弗斯的巨石突然不再滾下，無聲卻更為震耳欲聾，沒法再聽見 —— 些什麼？方才察覺世界從沒向我喊話，我也從沒聽見自己喊話。    階段三：抵抗  拿着武器的手顫動，劈斬、剝刮、穿鑿 —— 終至撫觸，然世界仍封殼於現成，身外之皆為無物。手中槌子或是鏟子應聲落地，隨之落地的是雙手。我無力掩耳，直至雙耳亦落地。舌根迸出遺音，祈求語義萬歲卻見其隨即散開迴盪成雜亂噪音。空間只留有一團虛在。    階段四：拆解  聽 —— 微絲漂泊於空際，四方無定。你驚覺你的身體亦是如此。你學習不去牽引自己的四肢，不去揮動週遭的空氣他們有自己的路。百物相擊或刺耳、或離拍，逐漸，這何嘗不是愉悦呢。   階段五：擁抱  「渡河既了，則筏當捨。」水聲漂散，四方無定。世界本來就如此縈繞轉動，你亦如是。內外皆現成，有何之憂？     ———————————————————— 𝕊𝕖𝕥 𝕃𝕚𝕤𝕥   (Stage 1)  | ____ Blue Monk (T.Monk)  𝐀𝐜𝐭 𝐈 𝐃𝐞𝐩𝐚𝐫𝐭𝐮𝐫𝐞  | ____ 𝐈-𝐢 𝐎𝐫𝐝𝐢𝐧𝐚𝐫𝐲 𝐖𝐨𝐫𝐥𝐝  | ____ ____ Misty in G    (Stage 2)  | ____ 𝐈-𝐢𝐢 𝐂𝐫𝐨𝐬𝐬𝐢𝐧𝐠 𝐭𝐡𝐞 𝐓𝐡𝐫𝐞𝐬𝐡𝐨𝐥𝐝  | ____ ____ MATH1010  | ____ ____ Tiny Steps    (Stage 3)  | ____ 𝐈-𝐢𝐢𝐢 𝐓𝐞𝐬𝐭, 𝐓𝐞𝐬𝐭, 𝐄𝐧𝐞𝐦𝐢𝐞𝐬  | ____ ____ Happy Pile Driver  | ____ ____ Mou4 Tai4 (Cin4)  | ____ ____ 〈存在即革命〉    (Stage 4)  𝐀𝐜𝐭 𝐈𝐈 𝐈𝐧𝐢𝐭𝐢𝐚𝐭𝐢𝐨𝐧  | ____ 〈招魂其一：少年P歸來時〉  | ____ Think, Lucky, Think!  | ____ Mou4 Tai4 (Hau6)  | ____ Portrait of Tracy (J.Pastorius)    (Stage 5)  𝐀𝐜𝐭 𝐈𝐈𝐈 𝐑𝐞𝐭𝐮𝐫𝐧  | ____ L'Enfant et L'Ocean  | ____ A Simple Piece Like Us    All pieces are composed by Woo Pok if not specified.    ———————————————————— 𝕃𝕚𝕟𝕖 𝕌𝕡   Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ Guest Vocalist: Yuki Cheung @yuki_cheung_acc Live Mixing: Mouse Lai @mouselai   Director: Woo Pok @woopok_ Poetry: Coolball Ho @co_ol_bal_l Tracks: Woo Pok @woopok_ Plot: Woo Pok @woopok_ Design: Yuki Cheung @yuki_cheung_acc , Woo Pok @woopok_

. 2025/07/08    HK New Jazz Voice: Woo Pok Quartet  《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》    ———————————————————— ℕ𝕠𝕨 ℙ𝕝𝕒𝕪𝕚𝕟𝕘   𝐒𝐨𝐧𝐠 𝟔 • • • 𝐀𝐜𝐭 𝐈 𝐃𝐞𝐩𝐚𝐫𝐭𝐮𝐫𝐞  | ____ • • • | ____ 𝐈-𝐢𝐢𝐢 𝐓𝐞𝐬𝐭, 𝐓𝐞𝐬𝐭, 𝐄𝐧𝐞𝐦𝐢𝐞𝐬  | ____ ____ • • • | ____ ____ Mou4 Tai4 (Hau6) • • •   ———————————————————— 𝕃𝕚𝕟𝕖 𝕌𝕡   Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ ———————————————————— 𝔻𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟 After S5’s attempt to force order onto chaos collapses, what’s left is the natural state, noise without meaning. The main theme comes from a poem that doesn’t exist, eight lines collaged from different classical Chinese poems into a meaningless seven-character regulated verse. Took only the Cantonese tones of its reading and turned them into the head. Language as a carrier of meaning—then the carrier is dismantled. Logic removed. Form removed. Only sound remains. cls @anthonywah can sight read that thing

. 2025/07/08    HK New Jazz Voice: Woo Pok Quartet  《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》    ———————————————————— ℕ𝕠𝕨 ℙ𝕝𝕒𝕪𝕚𝕟𝕘   𝐓𝟓 → 𝐒𝐨𝐧𝐠 𝟓 • • • 𝐀𝐜𝐭 𝐈 𝐃𝐞𝐩𝐚𝐫𝐭𝐮𝐫𝐞  | ____ • • • | ____ 𝐈-𝐢𝐢𝐢 𝐓𝐞𝐬𝐭, 𝐓𝐞𝐬𝐭, 𝐄𝐧𝐞𝐦𝐢𝐞𝐬  | ____ ____ Happy Pile Driver • • •   ———————————————————— 𝕃𝕚𝕟𝕖 𝕌𝕡   Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ ———————————————————— 𝔻𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟 Nothing seems to work, yet giving up a lifelong cognition is far harder than giving up the struggle itself. They repeat their labor resisting the noise of silence, but nothing seems to work. They chisel at the world’s shell, praying for a response, but nothing seems to work. They shout again and again, as if language still shape meaning. A long surge of noise (and "repetition legitimizes" by @its_adamneely ) marks the beginning of Stage 3, where harmony starts to decompose and melody screams nonsense. The tune unfolds in roughly three sections, with the head motif appearing three times. The middle section offers a short tonal deathbed, as an attempt to interpret or restore the former section to order, yet all efforts collapse back into chaos, leaving only noise and the pile driver’s echo. Just to say this song features my favorite metric modulation, playing with 3 and 5. Just to say. Also so happy that this unusual 5/4 beat at the head can be played by human being other than musescore midi. P.S. The on-show footage is polluted so it's replaced by our practice footage.

. 2025/07/08    HK New Jazz Voice: Woo Pok Quartet  《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》    ———————————————————— ℕ𝕠𝕨 ℙ𝕝𝕒𝕪𝕚𝕟𝕘   𝐓𝟒 → 𝐒𝐨𝐧𝐠𝟒 • • • 𝐀𝐜𝐭 𝐈 𝐃𝐞𝐩𝐚𝐫𝐭𝐮𝐫𝐞  | • • • | ____ 𝐈-𝐢𝐢 𝐂𝐫𝐨𝐬𝐬𝐢𝐧𝐠 𝐭𝐡𝐞 𝐓𝐡𝐫𝐞𝐬𝐡𝐨𝐥𝐝  | ____ ____ • • • | ____ ____ Tiny Steps • • •   ———————————————————— 𝕃𝕚𝕟𝕖 𝕌𝕡   Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ ———————————————————— 𝔻𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟 Once again, Sisyphus drives the mighty rock toward its climax — yet for the first time the rock remains still, mute. Nothing belongs to him, not the stone he pushes, not the mountain he climbs, not the path beneath his feet, not the self he inhabits. The world has always been silent, always irrelevant. No entities, only energy, dissolving into the crucible of uniform entropy. Delusion collapses into confusion, and still humanity refuses to see, continuing their pathetic tiny steps. I somehow symbolize a (ii-)V-I progression as the minimal unit of a "meaning", as it is minimal progression ("progress") forming a "functional" harmony". This tune is mixed with a set of ii-V-I, yet no functional directions, as tiny meanings do not assembled to the meaningful. Thus this is the most progressing tune but the most non-progressing tune.

. 2025/07/08    HK New Jazz Voice: Woo Pok Quartet  《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》    ———————————————————— ℕ𝕠𝕨 ℙ𝕝𝕒𝕪𝕚𝕟𝕘   𝐓𝟑 → 𝐒𝐨𝐧𝐠 𝟑 • • • 𝐀𝐜𝐭 𝐈 𝐃𝐞𝐩𝐚𝐫𝐭𝐮𝐫𝐞  | • • • | ____ 𝐈-𝐢𝐢 𝐂𝐫𝐨𝐬𝐬𝐢𝐧𝐠 𝐭𝐡𝐞 𝐓𝐡𝐫𝐞𝐬𝐡𝐨𝐥𝐝  | ____ ____ MATH1010 • • •   ———————————————————— 𝕃𝕚𝕟𝕖 𝕌𝕡   Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ ———————————————————— 𝔻𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟 Stepping into Stage 2, this tune pushes the original state to its highest intensity (state should work with frequencies though). A depiction of mankind unaware that they are Sisyphus, lingering in the ecstatic thrill of unconsciously pushing rocks. The math theme and the Richard Feynman speech reflect the illusion they inhabit — believing they live in a structured, controlled world. But what lies at the end? As its title suggests, MATH1010 is derived from math. The concept comes from my experience of taking an entry-level math course in college: begins with a simple motif, all of a sudden the difficulty rises exponentially. (Thanks to Anthony and Bean for nailing the freaking head.) P.S. I know I comped loosely here. Fixing my comping sense is my target for the year. Apologies to all.

. 2025/07/08    HK New Jazz Voice: Woo Pok Quartet  《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》    ———————————————————— ℕ𝕠𝕨 ℙ𝕝𝕒𝕪𝕚𝕟𝕘   𝐒𝐨𝐧𝐠 𝟐 • • • 𝐀𝐜𝐭 𝐈 𝐃𝐞𝐩𝐚𝐫𝐭𝐮𝐫𝐞  | ____ 𝐈-𝐢 𝐎𝐫𝐝𝐢𝐧𝐚𝐫𝐲 𝐖𝐨𝐫𝐥𝐝  | ____ ____ Misty in G  • • •   ———————————————————— 𝕃𝕚𝕟𝕖 𝕌𝕡   Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ ———————————————————— 𝔻𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟 A relaxed, simple piece. Together with the opener “Blue Monk,” these two songs pretended the tone of a “normal jazz gig”, still composed in “common language” y, practically and symbolically, executed without extra consciousness. An ideal starting point for the act “Ordinary World.” Outside the show, this piece was written the day after an intense theater period, on the next working day, during a lunch break, as a relaxation.

HK New Jazz Voice: Woo Pok Quartet 《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》 內容：原創爵士組曲現場演出 日期：7月8日（二） 時間：8:00 PM 地點：翻騰三周半（新蒲崗） 費用：自由定價（毋須預約） Sax: Anthony Wah @anthonywah Piano: Olive O @oooooooooobean Drums: Jerry Kan @kanjerry Bass: Woo Pok @woopok_ /// ／／ 片刻間，我站起來呆呆盯著解體的槌子；又或我不再是「透過」電腦看什麼，我憤怒地「朝著」電腦這台機器直瞄，同時猛擊鍵盤。這時就從「就手性」轉移到「現成性」：著眼於一件呆著不動的物體。海德格把這個轉變的狀態，以一個琅琅上口的語句概括起來：「存在頓成現成性而不復見就手性」。 ——《我們在存在主義咖啡館》／／ 一存在者無法選擇不選擇底下被命令思考，吟奏出十一串語無倫次，包括：搖擺、芭樂、調式、融合、數字、自由、重複使合法化、噪音、免費的果醬、神聖的撇棄、？？？、安息、爵士噪噪噪噪音、以及——藍調。 /// 節目起點源自《等待果陀》中幸運兒那段雜亂冗長語無倫次的獨白，吃力緊繃牙關強啃咬字嘔吐出來的七百組聲音，控告世界的荒謬絕情。作為一位音樂愛好者，筆者思索如何以爵士語言取締幸運兒的語言，從而拒絕世界的語言。思緒泛起漣漪，擴散，溢出《擁抱疏離：廿一世紀存在者必經英雄之路（暫名）》——世界中某種存在者尋求立身之處的某種歷程。 《擁》只由音樂與聲效組成。融合多種爵士樂風格，從搖擺到自由即興，從有調性到無調性，從節拍簡單到自由時間。筆者與三位樂界前輩一同探索與實驗，原創一系列新舊裏外交纏的聲音。 人生而自由，筆者邀請大家自由地選擇觀賞與詮釋節目方式。忽視上述所有概念，只專注聆聽經驗，也未嘗不是合適的觀賞方式。

. 2024/12/22 Good morning. My band @saf_samandfriends just won the @hk.caa Hong Kong Youth Band Competition with my rearrangement of @jfft_justforfun 's 《Song Encourage People》. Yeah. About the song, the award means a lot to me as I seldom receive proper feedbacks to my works, especially outside my echo chamber. This feels like a recognition to the hardwork, the skills, the ideas, the time, and the story I used to build up this piece (Although it's a rearrangement, basically the whole song was rewritten including all the of rap lyrics (with @edenlintszhim 👍🏿)) . About the bandmates, thank them for being the first one accepting this song (also thank CB's ones). And really proud of us that we able to KO this song with only one day having all memebers (already counted both of the competition days). These skillful mates are not only executing the arrangement but adding values and ideas to it, glad to jam with these musicality buddies. About the competition, not like my preivous experience, this year is like god fighting. With our EG's absence, we all enter chill guy mode after sound check, planning about directly go mong kok for celebration without joining the competition. Winning is really beyond my expectation, glory to my bandmates and the best singers. Fig. 1. Yeah. Fig. 2-3. I hope the judges appreciate that I turn the original 4 chord looping progression to like twenty chords, with my favorite #11. This breakdown really is my most meme arrangement works so far. Fig. 4. But I got a 16 bars index finger cramp through the whole breakdown, made the meme disappeared. I really afraid that I ruined the song by that but turns out the judges might not findout as they might totally not care about bass. Anyway, I still satisfied with my other parts in the performance, which I 憤世嫉俗地 overplayed in every single bar, turns out it was quite good (not said by me). Fig. 5. Crazily practice before the show, probably the reason that I got the cramp. Fig. 6. My anchor.

credit @yuki_cheung_acc 😭

. 2024/06/26 Playing the mighty Blue Bossa at @jessiestyeung_hk 's graduation concert. Thanks Jessie for offering this pretty sudden opportunity. It's my first formal attempt on jazz piano (if not counting playing blue scale on church songs). (TLDR: This is a shitty solo but I am gonna post it anyway before I regret it.) It's not a good enough solo. Somehow I have problems playing 16th notes, which is quite sacrilegious. It limits my energy level after a certain point, so I have to brainstorm enough diversity of melody phrasing and chords-striking patterns (failed). Speaking of chords, I keep playing shitty pop song voicings as I need the root to support my trust issues, and I got no training on root-less (or any good sounding) voicings. To solve this, I try to think the upper structure as chords and play them using shitty pop voicings, works somtimes. Luckily I nailed a chromatic idea on the second last chorus, and The Lick on last sentence. Despite all this, I got some encouraging feedbacks from strangers, thanks so much🙏🏿. I will keep practicing. Photo: @venuswoong leaving in speed of light Styling: @yuki_cheung_acc ofcoz

. 我的名字叫吉良吉影，33歲。住在杜王町東北部的別墅區一帶，未婚。我在龜友連鎖店服務。每天都要加班到晚上8點才能回家。我不抽煙，酒僅止於淺嚐。晚上11點睡，每天要睡足8個小時。睡前，我一定喝一杯溫牛奶，然後做20分鐘的柔軟操，上了床，馬上熟睡。一覺到天亮，決不把疲勞和壓力留到第二天。醫生都說我很正常。 我只是要說，我這個人別無奢求，只希望能夠「心情很平靜」地活下去。「勝負」、「輸贏」，是我最不喜歡和人計較的。因為，那只會為自己弄來「麻煩」和「敵人」……我就是這麼知足的人，這也是我的人生觀。若一定要動手的話，我是不會輸給任何人的。也就是說，如果出現了妨礙我睡眠的「麻煩」和「敵人」，在對方開口前……就會碰到這個！ - 香港中文大學基督徒樂隊 2023-2024 年度音樂會 《Rest Note》 * * * * * * * * * * 「咔嚓」 剎那、定格。 一幀幀、一幕幕， 吉光片羽， 彷彿因為時間的休止，有了意義。 聽到嗎？大自然的詠嘆。 在迴響。 「 ♫ ♪ ——」 「——」 赫然的停頓，如驚鴻掠影， 或是最獨具匠心的設計。 * * * * * * * * * * 日期：2024年7月26日 (星期五) 時間：晚上7時30分 地點：香港浸會大學大學會堂 門票：160元正 憑票入場 歡迎瀏覽樂隊專頁，了解我們團隊更多： @wearecucb (link in bio) 如有查詢，歡迎聯絡籌委會票務 Rachel (6388 1432)

. 2023/11/22 - 2024/05/19 I extend my sincere gratitude to @co_ol_bal_l for inviting me to serve as the composer and sound director (aka the whole sound team) for his project, @mine.theatre , over the past six months (a peaceful four months, a steady month and a chaotic to death two weeks). I am truly grateful for the opportunity to contribute to this contemporary masterpiece of drama, adhering to a contemporary working flow and contemporary sleeping hours. For the first time using sound to convey my interpretation of the story, creating and connecting motives. I am very thankful to Director Ho for granting significant freedom and 存在感 to the sound aspect. Whether it was the script or his very clear and specific instructions, both provided a lot of room for creativity. Idk but, I hope that the sound in this play has its own meaningful presence. This is 《Mine》, next up,《Mind ____ 》. 。。。 1. 遺憾冇同咁痴線嘅set light獨照。 2. 工作檯 3. 視野，基本上乜都睇聽唔到。如果唔係入台dress喺台隔離落que懷疑我永遠都唔會知個feel，用嗰度音響播出嚟我先覺得原來都真係幾有feel。 4. 何導，出色嘅人。 5. 工作時嘅我，卑躬屈膝。 6. 表達對何導嘅高尚情操。 7. 黑科技。即學即用。 8. 白田係我第一次睇黑盒嘅地方，亦係第一次接觸sound art嘅地方。一年過去，到我喺度留低一啲嘢。 9. 第一胎到第四十幾胎。應該有70%嘅tracks係喺最後兩個禮拜每晚通宵嘔出嚟，全部夾埋可能有一個鐘長度。我都覺得自己好勁。 10. 最大嘅支持。亦都感謝各位自稱會嚟且真係有嚟嘅人，很窩心。