Jazz History 爵士樂史話

譯/周厚娟

Origins of Jazz

起源

Jazz developed in the latter part of the 19th cent.from black work songs,field shouts, sorrow songs, hymns,andspirituals1 spiritual 靈歌，原為美國黑奴所唱的一種宗教歌曲。whose harmonic, rhythmic, and melodic elements were predominantly African.Because of its spontaneous, emotional, and improvisational character, and because it is basically of black origin and association, jazz has to some extent not been accorded the degree of recognition it deserves.European audiences have often been more receptive to jazz, and thus many American jazz musicians have become expatriates.

爵士樂于19世紀下半葉由黑人的勞動歌曲、田間號子、哀歌、贊美詩和靈歌發(fā)展而來，這一類音樂的和聲、節(jié)奏、旋律元素主要源于非洲。因為其自發(fā)、感性和即興的特征，以及本質(zhì)上的黑人文化源頭和聯(lián)系，某種程度上，爵士樂并沒有獲得它應得的認可。由于歐洲聽眾更樂于接受爵士樂，眾多美國爵士音樂家都移居歐洲大陸。

[2]At the outset, jazz was slow to win acceptance by the general public, not only because of its cultural origin, but also because it tended to suggest loose morals and low social status.However,jazz gained a wide audience when white orchestras adapted or imitated it, and became legitimate entertainment in the late 1930s when Benny Goodman led racially mixed groups in concerts at Carnegie Hall.Show tunes2 show tune最初為電影、戲劇或舞臺劇創(chuàng)作的配樂的一部分，成為流行曲調(diào)后脫離其最初背景，多數(shù)人對其創(chuàng)作背景并不知曉。became commonvehicles3 vehicle（為展露演員等的才華而）特意編寫的一出戲（或一部電影、一部音樂作品等）。for performance,and, while the results were exquisite,rhythmic and harmonic developments were impeded until the mid-1940s.

[2]一開始，爵士樂之所以很難被大眾接受，不僅僅是因為其文化溯源，還因為其往往暗示道德上的放縱和低下的社會地位。然而，當白人管弦樂隊對其進行改編或模仿后，爵士樂贏得了廣泛的聽眾。20世紀30年代末，本尼·古德曼帶領(lǐng)多種族音樂人組成的樂隊在卡耐基音樂廳舉辦音樂會后，爵士樂成為更加正規(guī)的表演。流行曲調(diào)成為演出的常見曲目，盡管演出效果近乎完美，但爵士樂在節(jié)奏跟和聲方面的發(fā)展卻一度停滯不前，直到40年代中期才得到改善。

[3]Jazz is generally thought to have begun in New Orleans, spreading to Chicago, Kansas City, New York City,and the West Coast.The blues, vocal and instrumental, was and is a vital component of jazz, which includes,roughly in order of appearance: ragtime; New Orleans or Dixieland jazz;swing; bop, or bebop; progressive, or cool, jazz; neo-bop, or hard-bop; third stream; mainstream modern; Latin-jazz;jazz-rock; and avant-garde or free jazz.

[3]普遍認為，爵士樂發(fā)源于新奧爾良，隨后傳到芝加哥、堪薩斯城、紐約市及西海岸。不論歌唱還是器樂，布魯斯過去和現(xiàn)在都是爵士樂的重要組成部分。按照出現(xiàn)的先后順序，爵士樂大致包括：拉格泰姆、新奧爾良或迪克西蘭爵士、搖擺樂、博普或比博普、現(xiàn)代或酷派爵士、新博普或硬博普、第三流派、現(xiàn)代主流、拉丁爵士、爵士搖滾，以及前衛(wèi)或自由爵士。

Blues

布魯斯

[4]The heart of jazz, the blues is a musical form now standardized as 12 bars, based on the tonic, dominant, and subdominant chords.The“blue notes”are the flatted third and seventh.A statement is made in the first four bars,repeated (sometimes with slight variation) in the next four, and answered or commented on in the last four.In vocal blues the lyrics are earthy and direct and are mostly concerned with basic human problems—love and sex, poverty,and death.The tempo may vary, and the mood ranges from total despair to cynicism and satire.

[4]作為爵士樂的核心流派，布魯斯這一音樂形式現(xiàn)在將標準固定為12小節(jié)，分為主和弦、屬和弦和下屬和弦?！八{調(diào)音”指的是降三級和降七級音。前四小節(jié)陳述，中間四節(jié)重復前四節(jié)（有時稍加變化），最后四節(jié)回應或評論。布魯斯歌曲的歌詞接地氣且直接，大多關(guān)注人類的基本問題——愛與性、貧困和死亡。節(jié)奏多變，表現(xiàn)的情緒從徹底絕望到憤世嫉俗和譏諷無所不包。

[5]Basing his songs on traditional blues, W.C.Handy greatly increased the popularity of theidiom4 idiom（在音樂、美術(shù)、寫作等方面所表現(xiàn)的）風格，特色。.Important vocal blues stylists include Blind Lemon Jefferson, Leadbelly, Lightnin’ Sam Hopkins, Robert Johnson, Gertrude(Ma5 Ma為當時大眾給該歌手的綽號，后面Chippie相同。) Rainey, Bertha (Chippie) Hill,Bessie Smith, Billie Holiday, Dinah Washington, and Muddy Waters.

[5]威廉·克里斯托弗·漢迪的歌曲基于傳統(tǒng)布魯斯創(chuàng)作，他也因此極大提高了該音樂類型的受歡迎程度。重要的布魯斯歌手有盲人萊蒙·杰弗遜、萊德貝利、“閃電”山姆·霍普金斯、羅伯特·約翰遜、“老媽”格楚德·雷尼、“蕩婦”伯莎·希爾、貝茜·史密斯、比莉·荷莉戴、黛娜·華盛頓，以及穆迪·沃特斯。

Ragtime

拉格泰姆

[6]The earliest form of jazz to exert a wide appeal, ragtime was basically a piano style emphasizing syncopation and polyrhythm.Scott Joplin and Irving Berlin were major composers and performers of ragtime.From about 1893 to the beginning of World War I this music was popularized throughsheet music6 sheet music活頁樂譜音樂，跟錄音音樂相對。andplayer-piano rolls7 player-piano roll自動鋼琴紙卷，自動鋼琴上用于控制琴鍵的穿孔紙帶。.In the early 1970s, ragtime, particularly Joplin’s works, had a popular revival.

[6]拉格泰姆是最早廣受歡迎的一種爵士樂，主要用鋼琴彈奏，大量使用切分音和復合節(jié)奏。拉格泰姆最主要的作曲家和演奏者是斯科特·喬普林和歐文·柏林。自大約1893年直到第一次世界大戰(zhàn)爆發(fā)，這種音樂通過活頁樂譜音樂和自動鋼琴紙卷廣為流行。20世紀70年代初，拉格泰姆，特別是喬普林的作品，又重新受到大眾喜歡。

New Orleans Jazz

新奧爾良爵士樂

[7]New Orleans, or Dixieland, jazz is played by small bands usually made up of cornet or trumpet, clarinet, trombone,and a rhythm section that includes bass,drums, guitar, and sometimes piano.When the band marched, as it often did in the early days, the piano and bass were omitted and a tuba was used.The three lead instruments provide acontrapuntal8 contrapuntal復調(diào)演奏的。melody above the steady beat of the rhythm, and individualities of intonation and phrasing, with frequent use ofvibrato9 vibrato 顫音。andglissando10 glissando滑奏。, give the music its warm and highly personal quality.The music ranged from funeral dirges to the exuberant songs ofMardi Gras11 新奧爾良狂歡節(jié)，原為宗教節(jié)日，于1699年傳入新奧爾良。如今該節(jié)日基本上是一個嘉年華式的狂歡紀念日。.

[7]新奧爾良或迪克西蘭爵士樂由小樂隊演奏，樂隊通常由短號或小號、單簧管、長號，以及一個包含貝斯、鼓、吉他和鋼琴（有時有）的節(jié)奏樂器組組成。當樂隊行進時（早期爵士樂隊經(jīng)常如此），省去鋼琴和貝斯，取而代之以大號。前三種主要樂器在平穩(wěn)的節(jié)奏基礎(chǔ)之上產(chǎn)生一種復調(diào)演奏的旋律，而極具個性的音準和樂句劃分，加上顫音和滑奏的頻繁使用，賦予了新奧爾良爵士樂熱情和高度個性化的特質(zhì)。新奧爾良爵士樂類型多樣，從葬禮挽歌到新奧爾良狂歡節(jié)狂熱的節(jié)日歌曲，皆在此列。

[8]The pioneer black New Orleans jazz band of Buddy Bolden was formed in the 1890s.The Original Dixieland Jazz Band and the New Orleans Rhythm Kings, both white bands, successfully introduced jazz to the northern United States.The closing in 1917 of the notoriousStoryville12 斯特利維爾，彼時為新奧爾良的紅燈區(qū)。district of New Orleans produced an exodus of jazz musicians.Many went to Chicago,where the New Orleans style survived in the bands of King Oliver, and later in the music of Louis Armstrong, Jelly Roll Morton, and Johnny Dodds.Fate Marable, who had played on Mississippi riverboats since 1910, now began to organize riverboat jam sessions with outstanding musicians.

[8]巴迪·伯登所帶領(lǐng)的新奧爾良黑人先鋒樂隊于19世紀90年代成立。之后，兩支白人樂隊——正宗迪克西蘭爵士樂隊和新奧爾良節(jié)奏之王——成功將爵士樂介紹到美國北部。1917年新奧爾良臭名昭著的斯特利維爾被關(guān)閉，迫使大批爵士樂手離開。很多人去了芝加哥，新奧爾良爵士樂得以存續(xù)，開始是通過金·奧利弗的樂隊，之后是路易斯·阿姆斯特朗、杰利·羅爾·莫頓和強尼·多茲的音樂。費特·馬拉布爾從1910年開始在密西西比河的內(nèi)河船上演奏，如今開始組織一些杰出的樂手在內(nèi)河船上即興表演。

[9]Meanwhile, distinctive styles developed in many cities, evolved by younger musicians who stressed a single melodic line rather than the New Orleans counterpoint.Bix Beiderbecke,a cornetist and pianist and a major Chicago-style musician, was influential in developing more complex melodic lines.Jazz spread to Kansas City, Los Angeles, and New York City.

[9]與此同時，在更年輕樂手的推動下，很多城市發(fā)展出各具特色的爵士樂風格。跟新奧爾良爵士樂手強調(diào)復調(diào)不同，他們強調(diào)單一旋律線。短號手、鋼琴演奏者、芝加哥風格重要的音樂人比克斯·貝德貝克在發(fā)展更復雜的旋律線方面頗具影響。之后，爵士樂傳至堪薩斯城、洛杉磯和紐約市。

Swing

搖擺樂

[10]Originating in Kansas City and Harlem in the late 1920s and becoming a national craze, swing was marked by the substitution of orchestration for improvisation and a rhythm that falls between the beats.The average big band had about 15 members and could generate overwhelming volume or evince the most subtle articulations.The bands led by Duke Ellington and Count Basie were the finest practitioners of this idiom, while those of Fletcher Henderson, Jimmie Lunceford, Benny Goodman, Artie Shaw, Glenn Miller, Tommy Dorsey, and Harry James were also outstanding.The music was often writ-ten to showcase soloists who were, or were intended to be, supported by the ensemble.

[10]20世紀20年代末，搖擺樂誕生于堪薩斯城和哈萊姆，隨即火遍全美。搖擺樂以即興創(chuàng)作和介于節(jié)拍之間的節(jié)奏取代了管弦樂編曲。通常一個大樂隊有15個樂隊成員，能夠發(fā)出巨大的音量，也能表現(xiàn)最細微的聲音。由艾靈頓公爵和貝西伯爵率領(lǐng)的樂隊是這一音樂風格最好的演繹者。除此之外，其他音樂人的樂隊也同樣突出，如弗萊徹·亨德森、吉米·倫斯福德、本尼·古德曼、艾特·肖、格倫·米勒、湯米·多爾西，以及哈里·詹姆斯。搖擺樂常常是為了凸顯獨奏而作，而樂隊合奏往往旨在烘托獨奏樂手。

Bop

博普

[11]The vigor of the music notwithstanding, a revolt against the confining nature of the harmony, melody, and rhythm of swing arose in Kansas City and Harlem in the 1930s and reached fruition in the mid-40s.The new music,called“bebop”or“rebop”(later shortened to“bop”), was rejected at first by many critics.Bop was characterized by the flatted fifth, a more elaborate rhythmic structure, and a harmonic rather than melodic focus.Charlie Parker, Dizzy Gillespie, Thelonius Monk, Kenny Clarke, and Charlie Christian were major influences in the new music, which became the basis for modern jazz.The influence of two swing musicians, the tenor saxophonist Lester Young and the drummer Jo Jones, was of paramount importance in influencing the harmonic and rhythmic direction of bop.

[11]這一音樂類型頗具活力，是對搖擺樂本質(zhì)上受限的和聲、旋律和節(jié)奏的一次反叛，20世紀30年代興起于堪薩斯城和哈萊姆，流行于40年代中期。這種被稱為“比博普”或“里博普”（后簡稱為“博普”）的新音樂一開始被很多評論家排斥。博普爵士樂的特點是使用降五級音，韻律結(jié)構(gòu)更復雜，關(guān)注和聲而非旋律。這一新音樂類型的代表人物有查理·帕克、迪茲·吉萊斯皮、塞隆尼斯·蒙克、肯尼·克拉克和查理·克里斯蒂安，他們的音樂為現(xiàn)代爵士奠定了基礎(chǔ)。兩位搖擺樂大師——次中音薩克斯手萊斯特·揚和鼓手喬·瓊斯——對博普爵士樂和聲和節(jié)奏的發(fā)展都起到了舉足輕重的作用。

Progressive Jazz

現(xiàn)代爵士樂

[12]After beginning in New York City, progressive, or cool, jazz developed primarily on the West Coast in the late 1940s and early 50s.Intense yet ironically relaxed tonal sonorities are the major characteristic of this jazz form, while the melodic line is less convoluted than in bop.Lester Young’s style was fundamental to the music of the cool saxophonists Lee Konitz,Warne Marsh, and Stan Getz.Miles Davis played an important part in the early stages, and the influence of virtuoso pianist Lennie Tristano was all-pervasive.The music was accepted more gracefully by the public and critics than bop,and the pianist Dave Brubeck became its most widely known performer.

[12]現(xiàn)代或酷派爵士樂興起于紐約市，20世紀40年代末至50年代初主要在美國西海岸發(fā)展。強烈卻意外般輕松的洪亮音調(diào)是這一爵士樂類型的主要特點，旋律線較博普而言沒有那么復雜。萊斯特·揚的風格深深影響了酷派爵士薩克斯手李·柯尼茲、沃恩·馬什和斯坦·蓋茨的音樂。在現(xiàn)代爵士樂的早期，邁爾斯·戴維斯發(fā)揮了重要作用，而鋼琴演奏大師藍尼·特利斯塔諾的影響無所不及。相較博普，酷派爵士更易于大眾和評論家接受。鋼琴家戴夫·布魯貝克成為酷派爵士最知名的演奏者。

Recent Trends

近況

[13]By the mid-1950s a form of neo-bop, or hard-bop, had arisen on the East Coast.John Coltrane, Sonny Rollins, Cannonball Adderley, Horace Silver, Art Blakey, and Max Roach led various small groups that produced an idiom marked by crackling, explosive,uncompromising intensity.About the same period, a number of outstanding musician-composers, including Gunther Schuller and John Lewis of the Modern Jazz Quartet, produced“third stream”jazz, essentially a blend of classical mu-sic and jazz.Jazz has also been successfully combined with Afro-Latin music,as in the music of Candido, Machito,Eddie Palmieri, and Mongo Santamaria.

[13]到50年代中期，一種名為新博普或硬博普的爵士音樂形式出現(xiàn)在美國東海岸。約翰·克特蘭、桑尼·羅林斯、“加農(nóng)炮”阿德雷、霍勒斯·西爾弗、阿特·布雷基和馬克斯·羅奇帶領(lǐng)的多個不同小型樂隊開創(chuàng)了一種具有炸裂性、爆發(fā)性且強度十足的爵士風格。大約同一時期，一些杰出的樂手兼作曲家，包括現(xiàn)代爵士四重奏樂隊的岡瑟·舒勒和約翰·劉易斯，開創(chuàng)了“第三流派”爵士，其本質(zhì)上是古典音樂和爵士的結(jié)合。爵士還成功地跟非洲—拉丁音樂結(jié)合，代表作品包括坎迪多、馬奇托、埃迪·帕爾邁和蒙戈·圣瑪麗亞等人的音樂。

[14]In the last half of the 1950s there were three major trends in contemporary jazz.First, a general modern jazz form had developed in the period since World War II, which can be called“mainstream,”best exemplified by the music of Gerry Mulligan’s various bands.Second, a number of instruments that either had never been used seriously in jazz, such as the flute, oboe,and flugelhorn, or had been unpopular,such as the soprano saxophone, were used to bring new instrumental voices into the music.Third, avant-garde or free jazz leaders such as John Coltrane,Ornette Coleman, Eric Dolphy, Pharaoh Sanders, Archie Shepp, Cecil Taylor,and Rahsaan Roland Kirk continued to explore new harmonic, melodic, and rhythmic relationships.The new jazz is often atonal, and traditional melodic instruments often assume rhythmicpercussive roles and vice versa.

[14]50年代后半期，當代爵士樂呈現(xiàn)出三個主要趨勢。第一，二戰(zhàn)以來的這段時期發(fā)展出普遍意義上的現(xiàn)代爵士樂，可稱之為“現(xiàn)代主流”爵士，蓋瑞·穆里根所屬的多個樂隊的音樂是這一形式最好的代表。第二，諸如長笛、雙簧管和夫呂號這樣一些從未真正在爵士樂中使用過或是高音薩克斯管這樣不曾受到青睞的樂器得到啟用，將新的器樂引入爵士樂。第三，約翰·克特蘭、奧奈特·科爾曼、艾瑞克·杜菲、“法老”桑德斯、阿奇·謝普、塞西爾·泰勒和拉薩恩·羅蘭·柯克等前衛(wèi)或自由爵士樂引領(lǐng)者繼續(xù)探索和聲、旋律和節(jié)奏三者之間的新型關(guān)系。新爵士樂常常是無調(diào)的，而傳統(tǒng)的旋律樂器一般都只是提供節(jié)奏打擊聲，反之亦然。

[15]In the late 1960s many jazz musicians, such as Miles Davis, Wayne Shorter, Larry Coryell, Gary Burton,Keith Jarrett, and Chick Corea, investigated the connections between rock and jazz in a musical style known as fusion.After the rapid innovations of the 1960s and 70s, the jazz of the 1980s appeared less form-bending and somewhat revivalist, with musicians reluctant to follow trends and accept labels.Emerging in the early 1990s was a style often called acid jazz, a hybrid form that combined traditional jazz, soul, andfunk13 funk放克音樂，由20世紀60年代美國黑人音樂家創(chuàng)造，節(jié)奏感強。with Latin and hip-hop rhythms.Some of the prominent jazz artists of the 1980s,1990s, and early 2000s include Wynton and Branford Marsalis, Terence Blanchard, David Murray, John Carter,Henry Threadgill, Cyrus Chestnut, and Joshua Redman.

[15]60年代末，邁爾斯·戴維斯、韋恩·肖特、拉里·科里爾、蓋瑞·伯頓、凱斯·杰瑞和奇克·考瑞阿等諸多音樂人在一種稱為融合爵士的音樂風格中探討搖滾和爵士樂之間的關(guān)系。經(jīng)過60年代和70年代的快速革新，80年代的爵士樂似乎較少強調(diào)形式上的曲折變化，而是體現(xiàn)了一定程度的復古，該派音樂人拒絕追隨潮流，也排斥被貼標簽。90年代初，酸爵士興起，這是一種融合了傳統(tǒng)爵士、靈樂和放克音樂并伴以拉丁和嘻哈節(jié)奏的混合音樂形式。20世紀80年代和90年代及21世紀初的杰出爵士樂藝術(shù)家有：溫頓·馬薩利斯、布蘭福德·馬薩利斯、泰倫斯·布蘭查德、戴維·默里、約翰·卡特、亨利·思雷德吉爾、賽勒斯·切斯納特和喬舒亞·瑞德曼。

[16]Jazz has always been a distinctively American idiom, with Europeans largely forming an appreciative audience and Europe’s jazzmen following trends begun in the United States.At the end of the 20th cent., however, many Scandinavian and French musicians,feeling that mainstream American jazz expression had retreated into the past,began creating a new genre nicknamed“the European.”Returning to jazz’s roots as dance music, they combined elements from European house, techno,drum and bass, and jungle music with acoustic, electronic, and sampled sound to create a more popular and populist variety of jazz.Musicians involved in this movement include Norwegian pianist Bugge Wesseltoft and trumpeter Nils Petter Molvaer, French pianists Martial Solal and Laurent de Wilde,French saxophonist Julien Lourau and flutist Malik Mezzadri, Sweden’s Esbjorn Svensson Trio, and France’s Ludovic Navarre (St.Germain).

[16]爵士樂一直以來都是一種極具美國特色的音樂風格，欣賞此種音樂的聽眾大多為歐洲人，而歐洲的爵士音樂人也一直跟隨美國開創(chuàng)的潮流。但在20世紀末，很多來自北歐和法國的音樂人感到美國主流爵士樂的表達方式已經(jīng)退回過去，于是開創(chuàng)了新的流派，綽號“歐洲人”。回歸爵士樂作為舞曲的最初定位，他們將歐洲的浩室音樂、高科技舞曲、以鼓和貝斯為主的電子舞曲以及叢林音樂等元素跟原聲、電子和采樣聲音結(jié)合起來，創(chuàng)造出一種更受歡迎也更平民化的爵士樂。參與這一運動的音樂人包括挪威鋼琴家布格·維塞爾托夫特和小號手瓦尼爾斯·彼得·摩瓦、法國鋼琴家馬夏爾·索拉爾和勞倫特·德·維爾德、法國薩克斯手朱利安·盧羅和長笛手馬利克·梅扎德里、瑞典的埃斯比約恩·史文森三重奏樂團、法國的盧多維克·納瓦爾（藝名圣日耳曼）。

[17]Jazz artists in America have suffered much and received little.In many cases the misery of their lives and public indifference have driven them to find relief in drugs and alcohol.Despite hardships they have produced a richly varied art form in which improvisation and experimentation are imperative;jazz promises continued growth in directions as yet unforeseeable.

[17]美國的爵士樂藝術(shù)家們飽受苦難卻鮮有收獲。很多時候，生活的困苦和公眾的冷漠迫使他們到毒品和酒精中尋求寬慰。盡管艱難，他們還是創(chuàng)造了一種極富變化、重視即興和實驗的藝術(shù)形式。雖然前路依然茫茫，爵士樂還會繼續(xù)前行。