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2024年3月18日发(作者：)

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' sig nature sound. Whereas most trumpeters of the era favoured

the use of vibrato （a wobbly quiver in pitch in flected in the in strume nt's ton e）, Davis was taught to play

with a long, straight tone, a prefere nee his in structor 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 soun d, I can't play

anything.

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色乐声 的塑造产生了深远的影响。 当今小号

手们普遍使用颤音 （乐器的音色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

用这种音色的话，我就无法演奏。”

B Having graduated from high school in 1944, Davis moved to New York City, where he continued his

musical educati on both in the clubs and in the classroom. His enro lme nt 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 n eglect of jazz. Davis did later ack no wledge, however, that

this time at the school was

in valuable in terms of develop ing his trumpet-playi ng tech nique and givi ng him a solid grounding

in music theory. Much of his early training took place in the form of jam sessi ons and performa nces in

the clubs of 52nd Street, where he played alon gside both up-a nd-co ming and established members of

the jazz pan the on such as Colema n Hawk ins, Eddie 'Lockjaw' Davis, and Thel onious 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 Cool , an album now renowned for the in choate sounds of what

would later become known as 'cool' jazz. In con trast 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. Although it received little acclaim at the time

（the liner notes to one of Davis' later recordings call it a 'spectacular failure'）, in hindsight

of Cool has become recognised as a pivotal

The Birth

moment in jazz history, cementing - alongside his 1958 recording, 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 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

collaborators and

hailing the success of his

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 influenced 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 and Michael Jackson's Human Nature , dabbling in hip hop, and even appearing in some

movies.

在戴维斯职业生涯的后几十年里， 他挣脱了爵士乐特有风格的束缚， 开始采用大量的音乐风 格使自己的演奏

多样化。 20 世纪 60 年代，戴维斯受到像 Sly 、 Family Stone 这样的疯克音 乐家的影响，将其风格融入进爵士

里形成了融合爵士，这是他在 20 世纪 70 年代成为了这

种音乐风格的领跑者。 电子设备和电子乐器同样融入他的音乐之中。 20 世纪 80 年代，戴维 斯做出更进一步

的突破，吸收了像辛蒂•罗波的“ Time After Time ”，迈克尔•杰克逊的 Human Nature 等流行歌曲元素，也在

嘻哈音乐，甚至出现在电影中的音乐都有涉猎。

F Not everyone was supportive of Davis' change of tune. Compared to the recordings

of his early career, universally applauded as linchpins of the jazz oeuvre , trumpeter Wynston Marsalis

derided his fusion work as being 'not true jazz', and pianist Bill Evans denounced the 'corrupting

influence' of record companies, noting that rock and pop 'draw wider audiences'. In the face of this

criticism, Davis remained defiant, commenting that his earlier recordings were part of a moment in time

that he had no 'feel' for anymore. He

firmly believed that remaining stylistically inert would have hampered his ability to develop new ways

of producing music. From this perspective, Davis' continual revamping of genre was not merely a

rebellion, but an evolution, a necessary path that allowed him to release his full musical potential.

并非所有人都支持戴维斯曲风的改变。 相较于他早期的曲子如广受赞誉的经典爵士乐 “毕生 之作”，小号演

奏家 Wynston Marsalis嘲讽他的疯克音乐是 "假爵士乐”，钢琴家比尔•伊 万斯宣称唱片公司拥有“腐败的影响”，

使得摇滚和嘻哈音乐“吸引更广泛的听众”。面对 这样的批评， 戴维斯依然不屑一顾， 他表示早期创作只是那个

时期某个瞬间的一部分， 他现 在对此毫无感觉。他坚信保持风格上的迟滞性会妨碍他寻找新的方法创作音乐。由

此可见， 戴维斯在风格上的不断翻新并不仅仅是一次反抗， 而是一次进化， 一条使他释放所有音乐潜 力的必经之

路。

本文标签： 音乐爵士乐学习风格