MILES DAVIS
Icon and iconoclast（偶像与偶像破坏者）
A    At the age of thirteen, Miles Davis was given his first trumpet, lessons were arranged with a local trumpet player, and a musical odyssey began. These early lessons, paid for and supported by his father, had a profound effect on shaping Davis' signature sound. Whereas most trumpeters of the era favoured the use of vibrato (a wobbly quiver in pitch inflected in the instrument's tone), Davis was taught to play with a long, straight tone, a preference his instructor reportedly drilled into the young trumpeter with a rap on the knuckles every time Davis began using vibrato. This clear, distinctive style never left Davis. He continued playing with it for the rest of his career, once remarking, 'If I can't get that sound, I can't play anything.
陈慧琳老公是谁
十三岁那年，迈尔斯·戴维斯得到了他人生中的第一支小号并跟随一名当地的小号手学习吹奏。由此，一部音乐史诗展开了。在父亲的资助和支持下，早期学习对迈尔斯后期特乐声的塑造产生了深远的影响。当今小号手们普遍使用颤音（乐器的音在高音区发出的摆动震颤），据说他的指导老师每次反复指导这位年轻的小号手用指关节反复敲击，开始使用颤音时，戴维斯则改用自己偏爱的用悠长平直的音调进行演奏。这样清晰简明，独具一格的演奏方式一直为戴维斯所用。在他的演奏生涯中，戴维斯一直沿用这样的演奏方式。他说：“不用这种音的话，我就无法演奏。”
B郑浩南 三级    Having graduated from high school in 1944, Davis moved to New York City, where he continued his musical education both in the clubs and in the classroom. His enrolment in the prestigious Julliard School of Music was short-lived, however - he soon dropped out, criticising what he as an over-emphasis on the classical European repertoire and a neglect of jazz. Davis did later acknowledge, however, that this time at the school was invaluable in terms of developing his trumpet-playing technique and giving him a solid grounding in music theory. Much of his early training took place in the form of jam sessions and performances in the clubs of 52nd Street, where he played alongside both u
p-and-coming and established members of the jazz pantheon such as Coleman Hawkins, Eddie 'Lockjaw' Davis, and Thelonious Monk.
1944年高中毕业以后，戴维斯来到纽约通过酒吧表演以及专业课程继续学习音乐。戴维斯在久负盛名的纽约茱莉亚学院的学习生涯十分短暂，因为他认为学校过分强调学习欧洲古典曲目，忽视对爵士乐的学习而退学。但之后戴维斯承认这段时光在提高他的小号吹奏技巧以及为他的音乐理论奠定坚实基础方面是无价的。早期的系统学习被在52号街酒吧进行即兴吹奏和表演所取代。在这里，他与在诸位前途光明，受人追捧的爵士乐演奏家（如柯曼·霍金斯、艾迪·戴维斯以及塞隆尼斯·孟克等）共同表演。
C    In the late 1940s, Davis collaborated with nine other instrumentalists, including a French horn and a tuba player, to produce The Birth of Coolcool轻音乐, an album now renowned for the inchoate sounds of what would later become known as 'cool' jazz. In contrast to popular jazz styles of the day, which featured rapid, rollicking beats, shrieking vocals, and short, sharp horn blasts, Davis' album was the forerunner of a different kind of sound - thin, light horn-playing, hushed drums and a more restrained, formal arrangement. Althou
gh it received little acclaim at the time (the liner notes to one of Davis' later recordings call it a 'spectacular failure'), in hindsight The Birth of Cool has become recognised as a pivotal moment in jazz history, cementing - alongside his 1958 recording, 赤西仁 黑木明纱Kind of Blue - Davis' legacy as one of the most innovative musicians of his era.
在20世纪40年代末，戴维斯和其他包括来自法国的大小号演奏者在内的九名乐器演奏者一起共同制作了专辑《酷派的诞生》。这张专辑以后来被称作“酷派爵士乐”奠定了早期基础而闻名。如今的流行爵士乐风格多变，节奏欢乐，人声刺耳，喇叭轰鸣，尖锐短促。与这类风格相反，戴维斯的专辑开创了轻奏小号，缓击鼓点，有节制并正式编排音乐的先河。尽管在当时这张专辑好评寥寥（在戴维斯之后的录音带里把它称之为“华丽的失败”），但在之后《酷派的诞生》被认作爵士乐历史上最重要的时刻，与戴维斯1958年创作的另一张录音带《泛蓝调调》作为他的精神遗产使其在爵士乐领域成为最具创作性的音乐家之一。
D    Though Davis' trumpet playing may have sounded effortless and breezy, this ease rarely carried over into the rest of his life. The early 1950s, in particular, were a time of great personal turmoil. After returning from a stint in Paris, Davis suffered from prolonged
下载音乐免费听歌depression, which he attributed to the unravelling of a number of relationships, including his romance with a French actress and some musical partnerships that ruptured as a result of creative disputes. Davis was also frustrated by his perception that he had been overlooked by the music critics, who were hailing the success of his collaborators and descendants in the 'cool' tradition, such as Gerry Mulligan and Dave Brubeck, but who afforded him little credit for introducing the cool sound in the first place.
尽管戴维斯的演奏听起来简单易懂，轻松愉快，但这种轻松感并未融入于他之后的生活。尤其是在20世纪50年代初，个人生活极度混乱。在巴黎居住一段时间回到美国后，戴维斯长期处于低迷状态，他将其因为大量处理人际关系，其中包括他和法国女演员的暧昧关系，由于创作分歧最后破裂的音乐伙伴关系。他同样因为察觉到音乐批评家们忽视他而沮丧失意。批评家们为他的合作者的成功以及沿袭“酷派”传统的后辈们（包括格里·穆里根、戴夫·布鲁贝克）喝彩，却不认为他是最先创作酷派音乐的人。
E    In the latter decades of his career, Davis broke out of exclusive jazz settings and began to diversify his output across a range of musical styles. In the 1960s, he was influe
nced by early funk performers such as Sly and the Family Stone, which then expanded into the jazz- rock fusion genre - of which he was a frontrunner - in the 1970s. Electronic recording effects and electric instruments were incorporated into his sound. By the 1980s, Davis was pushing the boundaries further, covering pop anthems such as Cyndi Lauper's Time After Time请给我你的爱 and Michael Jackson's Human Nature, dabbling in hip hop, and even appearing in some movies.