Jazz History 爵士乐史话

译/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 灵歌，原为美国黑奴所唱的一种宗教歌曲。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.

爵士乐于19世纪下半叶由黑人的劳动歌曲、田间号子、哀歌、赞美诗和灵歌发展而来，这一类音乐的和声、节奏、旋律元素主要源于非洲。因为其自发、感性和即兴的特征，以及本质上的黑人文化源头和联系，某种程度上，爵士乐并没有获得它应得的认可。由于欧洲听众更乐于接受爵士乐，众多美国爵士音乐家都移居欧洲大陆。

[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最初为电影、戏剧或舞台剧创作的配乐的一部分，成为流行曲调后脱离其最初背景，多数人对其创作背景并不知晓。became commonvehicles3 vehicle（为展露演员等的才华而）特意编写的一出戏（或一部电影、一部音乐作品等）。for performance,and, while the results were exquisite,rhythmic and harmonic developments were impeded until the mid-1940s.

[2]一开始，爵士乐之所以很难被大众接受，不仅仅是因为其文化溯源，还因为其往往暗示道德上的放纵和低下的社会地位。然而，当白人管弦乐队对其进行改编或模仿后，爵士乐赢得了广泛的听众。20世纪30年代末，本尼·古德曼带领多种族音乐人组成的乐队在卡耐基音乐厅举办音乐会后，爵士乐成为更加正规的表演。流行曲调成为演出的常见曲目，尽管演出效果近乎完美，但爵士乐在节奏跟和声方面的发展却一度停滞不前，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]普遍认为，爵士乐发源于新奥尔良，随后传到芝加哥、堪萨斯城、纽约市及西海岸。不论歌唱还是器乐，布鲁斯过去和现在都是爵士乐的重要组成部分。按照出现的先后顺序，爵士乐大致包括：拉格泰姆、新奥尔良或迪克西兰爵士、摇摆乐、博普或比博普、现代或酷派爵士、新博普或硬博普、第三流派、现代主流、拉丁爵士、爵士摇滚，以及前卫或自由爵士。

Blues

布鲁斯

[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]作为爵士乐的核心流派，布鲁斯这一音乐形式现在将标准固定为12小节，分为主和弦、属和弦和下属和弦。“蓝调音”指的是降三级和降七级音。前四小节陈述，中间四节重复前四节（有时稍加变化），最后四节回应或评论。布鲁斯歌曲的歌词接地气且直接，大多关注人类的基本问题——爱与性、贫困和死亡。节奏多变，表现的情绪从彻底绝望到愤世嫉俗和讥讽无所不包。

[5]Basing his songs on traditional blues, W.C.Handy greatly increased the popularity of theidiom4 idiom（在音乐、美术、写作等方面所表现的）风格，特色。.Important vocal blues stylists include Blind Lemon Jefferson, Leadbelly, Lightnin’ Sam Hopkins, Robert Johnson, Gertrude(Ma5 Ma为当时大众给该歌手的绰号，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·汉迪的歌曲基于传统布鲁斯创作，他也因此极大提高了该音乐类型的受欢迎程度。重要的布鲁斯歌手有盲人莱蒙·杰弗逊、莱德贝利、“闪电”山姆·霍普金斯、罗伯特·约翰逊、“老妈”格楚德·雷尼、“荡妇”伯莎·希尔、贝茜·史密斯、比莉·荷莉戴、黛娜·华盛顿，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活页乐谱音乐，跟录音音乐相对。andplayer-piano rolls7 player-piano roll自动钢琴纸卷，自动钢琴上用于控制琴键的穿孔纸带。.In the early 1970s, ragtime, particularly Joplin’s works, had a popular revival.

[6]拉格泰姆是最早广受欢迎的一种爵士乐，主要用钢琴弹奏，大量使用切分音和复合节奏。拉格泰姆最主要的作曲家和演奏者是斯科特·乔普林和欧文·柏林。自大约1893年直到第一次世界大战爆发，这种音乐通过活页乐谱音乐和自动钢琴纸卷广为流行。20世纪70年代初，拉格泰姆，特别是乔普林的作品，又重新受到大众喜欢。

New Orleans Jazz

新奥尔良爵士乐

[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复调演奏的。melody above the steady beat of the rhythm, and individualities of intonation and phrasing, with frequent use ofvibrato9 vibrato 颤音。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 新奥尔良狂欢节，原为宗教节日，于1699年传入新奥尔良。如今该节日基本上是一个嘉年华式的狂欢纪念日。.

[7]新奥尔良或迪克西兰爵士乐由小乐队演奏，乐队通常由短号或小号、单簧管、长号，以及一个包含贝斯、鼓、吉他和钢琴（有时有）的节奏乐器组组成。当乐队行进时（早期爵士乐队经常如此），省去钢琴和贝斯，取而代之以大号。前三种主要乐器在平稳的节奏基础之上产生一种复调演奏的旋律，而极具个性的音准和乐句划分，加上颤音和滑奏的频繁使用，赋予了新奥尔良爵士乐热情和高度个性化的特质。新奥尔良爵士乐类型多样，从葬礼挽歌到新奥尔良狂欢节狂热的节日歌曲，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 斯特利维尔，彼时为新奥尔良的红灯区。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·伯登所带领的新奥尔良黑人先锋乐队于19世纪90年代成立。之后，两支白人乐队——正宗迪克西兰爵士乐队和新奥尔良节奏之王——成功将爵士乐介绍到美国北部。1917年新奥尔良臭名昭著的斯特利维尔被关闭，迫使大批爵士乐手离开。很多人去了芝加哥，新奥尔良爵士乐得以存续，开始是通过金·奥利弗的乐队，之后是路易斯·阿姆斯特朗、杰利·罗尔·莫顿和强尼·多兹的音乐。费特·马拉布尔从1910年开始在密西西比河的内河船上演奏，如今开始组织一些杰出的乐手在内河船上即兴表演。

[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]与此同时，在更年轻乐手的推动下，很多城市发展出各具特色的爵士乐风格。跟新奥尔良爵士乐手强调复调不同，他们强调单一旋律线。短号手、钢琴演奏者、芝加哥风格重要的音乐人比克斯·贝德贝克在发展更复杂的旋律线方面颇具影响。之后，爵士乐传至堪萨斯城、洛杉矶和纽约市。

Swing

摇摆乐

[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世纪20年代末，摇摆乐诞生于堪萨斯城和哈莱姆，随即火遍全美。摇摆乐以即兴创作和介于节拍之间的节奏取代了管弦乐编曲。通常一个大乐队有15个乐队成员，能够发出巨大的音量，也能表现最细微的声音。由艾灵顿公爵和贝西伯爵率领的乐队是这一音乐风格最好的演绎者。除此之外，其他音乐人的乐队也同样突出，如弗莱彻·亨德森、吉米·伦斯福德、本尼·古德曼、艾特·肖、格伦·米勒、汤米·多尔西，以及哈里·詹姆斯。摇摆乐常常是为了凸显独奏而作，而乐队合奏往往旨在烘托独奏乐手。

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]这一音乐类型颇具活力，是对摇摆乐本质上受限的和声、旋律和节奏的一次反叛，20世纪30年代兴起于堪萨斯城和哈莱姆，流行于40年代中期。这种被称为“比博普”或“里博普”（后简称为“博普”）的新音乐一开始被很多评论家排斥。博普爵士乐的特点是使用降五级音，韵律结构更复杂，关注和声而非旋律。这一新音乐类型的代表人物有查理·帕克、迪兹·吉莱斯皮、塞隆尼斯·蒙克、肯尼·克拉克和查理·克里斯蒂安，他们的音乐为现代爵士奠定了基础。两位摇摆乐大师——次中音萨克斯手莱斯特·扬和鼓手乔·琼斯——对博普爵士乐和声和节奏的发展都起到了举足轻重的作用。

Progressive Jazz

现代爵士乐

[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]现代或酷派爵士乐兴起于纽约市，20世纪40年代末至50年代初主要在美国西海岸发展。强烈却意外般轻松的洪亮音调是这一爵士乐类型的主要特点，旋律线较博普而言没有那么复杂。莱斯特·扬的风格深深影响了酷派爵士萨克斯手李·柯尼兹、沃恩·马什和斯坦·盖茨的音乐。在现代爵士乐的早期，迈尔斯·戴维斯发挥了重要作用，而钢琴演奏大师蓝尼·特利斯塔诺的影响无所不及。相较博普，酷派爵士更易于大众和评论家接受。钢琴家戴夫·布鲁贝克成为酷派爵士最知名的演奏者。

Recent Trends

近况

[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，一种名为新博普或硬博普的爵士音乐形式出现在美国东海岸。约翰·克特兰、桑尼·罗林斯、“加农炮”阿德雷、霍勒斯·西尔弗、阿特·布雷基和马克斯·罗奇带领的多个不同小型乐队开创了一种具有炸裂性、爆发性且强度十足的爵士风格。大约同一时期，一些杰出的乐手兼作曲家，包括现代爵士四重奏乐队的冈瑟·舒勒和约翰·刘易斯，开创了“第三流派”爵士，其本质上是古典音乐和爵士的结合。爵士还成功地跟非洲—拉丁音乐结合，代表作品包括坎迪多、马奇托、埃迪·帕尔迈和蒙戈·圣玛丽亚等人的音乐。

[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，当代爵士乐呈现出三个主要趋势。第一，二战以来的这段时期发展出普遍意义上的现代爵士乐，可称之为“现代主流”爵士，盖瑞·穆里根所属的多个乐队的音乐是这一形式最好的代表。第二，诸如长笛、双簧管和夫吕号这样一些从未真正在爵士乐中使用过或是高音萨克斯管这样不曾受到青睐的乐器得到启用，将新的器乐引入爵士乐。第三，约翰·克特兰、奥奈特·科尔曼、艾瑞克·杜菲、“法老”桑德斯、阿奇·谢普、塞西尔·泰勒和拉萨恩·罗兰·柯克等前卫或自由爵士乐引领者继续探索和声、旋律和节奏三者之间的新型关系。新爵士乐常常是无调的，而传统的旋律乐器一般都只是提供节奏打击声，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放克音乐，由20世纪60年代美国黑人音乐家创造，节奏感强。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，迈尔斯·戴维斯、韦恩·肖特、拉里·科里尔、盖瑞·伯顿、凯斯·杰瑞和奇克·考瑞阿等诸多音乐人在一种称为融合爵士的音乐风格中探讨摇滚和爵士乐之间的关系。经过60年代和70年代的快速革新，80年代的爵士乐似乎较少强调形式上的曲折变化，而是体现了一定程度的复古，该派音乐人拒绝追随潮流，也排斥被贴标签。90年代初，酸爵士兴起，这是一种融合了传统爵士、灵乐和放克音乐并伴以拉丁和嘻哈节奏的混合音乐形式。20世纪80年代和90年代及21世纪初的杰出爵士乐艺术家有：温顿·马萨利斯、布兰福德·马萨利斯、泰伦斯·布兰查德、戴维·默里、约翰·卡特、亨利·思雷德吉尔、赛勒斯·切斯纳特和乔舒亚·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]爵士乐一直以来都是一种极具美国特色的音乐风格，欣赏此种音乐的听众大多为欧洲人，而欧洲的爵士音乐人也一直跟随美国开创的潮流。但在20世纪末，很多来自北欧和法国的音乐人感到美国主流爵士乐的表达方式已经退回过去，于是开创了新的流派，绰号“欧洲人”。回归爵士乐作为舞曲的最初定位，他们将欧洲的浩室音乐、高科技舞曲、以鼓和贝斯为主的电子舞曲以及丛林音乐等元素跟原声、电子和采样声音结合起来，创造出一种更受欢迎也更平民化的爵士乐。参与这一运动的音乐人包括挪威钢琴家布格·维塞尔托夫特和小号手瓦尼尔斯·彼得·摩瓦、法国钢琴家马夏尔·索拉尔和劳伦特·德·维尔德、法国萨克斯手朱利安·卢罗和长笛手马利克·梅扎德里、瑞典的埃斯比约恩·史文森三重奏乐团、法国的卢多维克·纳瓦尔（艺名圣日耳曼）。

[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]美国的爵士乐艺术家们饱受苦难却鲜有收获。很多时候，生活的困苦和公众的冷漠迫使他们到毒品和酒精中寻求宽慰。尽管艰难，他们还是创造了一种极富变化、重视即兴和实验的艺术形式。虽然前路依然茫茫，爵士乐还会继续前行。