美国爵士乐小号手。\r Blanchard出生于一九六二年，是跟着所谓“爵士幼狮潮”〈Young Lions〉窜出的年轻爵士新秀，十八岁就被大师Lionel Hampton招揽合作，后更加入了鼓手Art Blakey的“爵士信差”。后来Blanchard为黑人导演Spike Lee的电影如《黑潮：麦尔坎X》（Malcolm X）和《爱情至上》（Mo’ Better Blues）等撰写配乐并演奏，算是找到了一个不错的方向。虽说是电影配乐让Terence Blanchard闯出名堂，但他心中的爵士梦未曾稍歇〈其实他替Spike Lee写的配乐几乎都是爵士乐〉，到西元二○○三年加入了蓝调之音，似乎好好玩爵士的梦想准备实现了。首张专辑 Bounce》 便获得了相当好评，而全新推出的《流动》则更像是一种火力展示，不论在演奏上或创作上都有杰出的表现。\r \r Although he originally rose to prominence in the shadow of Wynton Marsalis, Terence Blanchard was one of the first Young Lions to develop his own sound, mixing in elements of Freddie Hubbard and Marsalis. He studied piano from the age of five and took up trumpet in 1976. Blanchard was with Lionel Hampton during 1980-1982 and then replaced Marsalis with Art Blakeys Jazz Messengers. He found fame while with Blakey during 1982-1986, and then co-led a group with Donald Harrison. After taking time off to work on his embouchure (and returning with a greatly increased range), Blanchard became active writing film scores for Spike Lee. He played in the films Do the Right Thing and Mo Better Blues, and then wrote for Jungle Fever and Malcolm X, launching a lucrative second career. Fortunately, Blanchard has not neglected his own playing and has recorded several superior sets of advanced post-bop music. Included among these are 1993s Simply Stated, 1995s Heart Speaks, his 1999 classic soundtrack-themed Jazz in Film, his 2000 return to all-original post-bop Wandering Moon, 2003s fusion-influenced Bounce, and his 2007 tribute to post-hurricane New Orleans, A Tale of Gods Will (A Requiem for Katrina).