25
Bill Evans Jazz警句
转自 Hi-iD （http://www.hi-id.com/talk/comments.php?DiscussionID=13）
“To the person who uses music as a medium for the expression of ideas, feelings, images, or what have you; anything which facilitates this expression is properly his instrument.”
对于那些想用音乐来表达想法，感觉，想象或其他任何东西的人来说，能过促成这种表达的就是他的乐器。
“Perhaps it is a peculiarity of mine that despite the fact that I am a professional performer, it is true that I have always preferred playing without an audience.”
也许这是我个人比较特别的，就是我从不当自己是一个专业的演奏者，我经常喜欢在没有一个观众的时候去演奏，这是事实。
“First of all, I never strive for identity. That’s something that just has happened automatically as a result, I think, of just putting things together, tearing things apart and putting it together my own way, and somehow I guess the individual comes through eventually.”
首先，我从来不会刻意去追求个人风格。我认为这些都是自然而然的，只需要把那些东西聚到一起，把他们撕碎，再用自己的方式组合起来，我认为个人风格就自然而至。
“My creed for art in general is that it should enrich the soul; it should teach spirituality by showing a person a portion of himself that he would not discover otherwise . . . a part of yourself you never knew existed.”
我对艺术的大致信条是它必须使灵魂丰盈；它要传达一种精神上的东西，展现一个人他自己没有发觉的一面……你自己从来未知但存在的一部分。
CommentAuthorHi-iD CommentTimeApr 11th 2007 修改于 固定链接
“I believe in things that are developed through hard work. I always like people who have developed long and hard, especially through introspection and a lot of dedication. I think what they arrive at is usually a much deeper and more beautiful thing than the person who seems to have that ability and fluidity from the beginning. I say this because it’s a good message to give to young talents who feel as I used to.”
我信任经过艰苦奋斗的东西。我喜欢那些经过艰苦奋斗的人，特别是通过内省和很多的付出。我认为他们会到达更深更美，比起那些看起来一开始就具有这些能力的人。我之所以这样说，因为对于那些和我以前一样那些年轻人才是好的建议。
“A guy is influenced by hundreds of people and things, and all show up in his work. To fasten on any one or two is ridiculous. I will say one thing, though. Lennie Tristano’s early records impressed me tremendously. Tunes like ‘Tautology,’ ‘Marshmallow,’ and ‘Fishin’ Around.’ I heard the fellows in his group building their lines with a design and general structure that was different from anything I’d ever heard in jazz.”
一个人会受到许许多多人和事物的影响作用，这一切也在他的作品中体现出来。但我需要说明一点，束缚于其中任何一两个是荒谬的。Lennie Tristano的早期录音对我影响很大。比如这些曲目‘Tautology’ ‘Marshmallow’ 和 ‘Fishin’ Around’，我从他们乐队中听到的设计过的乐句和一般结构，是我在jazz中从来没有听到过的。
“Technique is the ability to translate your ideas into sound through your instrument. This is a comprehensive technique . . . a feeling for the keyboard that will allow you to transfer any emotional utterance into it. What has to happen is that you develop a comprehensive technique and then say, Forget that. I'm just going to be expressive through the piano.”
技术是把想法通过乐器转化出来的一种能力，这是一种广泛的技术……对琴键的感觉会让你把任何情感语言转化表达出来，接着产生的就是你形成了一种广泛的技术然后说，抛开它，我只想通过钢琴来表达。
“When you begin to teach jazz, the most dangerous thing is that you tend to teach style…I had eleven piano students, and I would say eight of them didn’t it even want to know about chords or anything - they didn't even want to do anything that anybody had ever done, because they didn't want to be imitators. Well, of course, this is pretty naive…but nevertheless it does bring to light the fact that if you're going to try to teach jazz…you must abstract the principles of music which have nothing to do with style, and this is exceedingly difficult. So there, the teaching of jazz is a very touchy point. It ends up where the jazz player, ultimately, if he's going to be a serious jazz player, teaches himself.”
当你开始教jazz的时候，最危险的事就是你想去教风格……我有11个钢琴学生，我想说的是其中8个人连和弦什么的都不想去了解,他们不想去做别人已经做了的任何东西，因为他们不想成为模仿者。当然，这是非常天真的……但无论如何，如果你想去教jazz，这会给你带来一些事实的启示……你必须从音乐中抽取那些和风格无关的原则，这相当的困难，所以教jazz是非常烦恼的。一个jazz乐手如果本质上想成为一个优秀的jazz乐手，那么就教自己。
“It’s performing without any really set basis for the lines and the content as such emotionally or, specifically, musically. And if you sit down and contemplate what you�re going to do, and take five hours to write five minutes of music, then it�s composed music. Therefore I would put it in the classical or serious, whatever you want to call it, written-music category. So there�s composed music and there is jazz. And to me anybody that makes music using the process that we are using in Jazz, is playing Jazz.”
jazz演奏没有真正意义上的固定乐句和内容比如这些情感上的，特别的，音乐上的。如果你坐下来然后冥想你将要做的，用5个小时来写5分钟的音乐，这是作曲。因此我把他们归类到古典或者严肃音乐，随便你怎么称呼他们，作曲类。所以才会有作曲音乐和jazz之分，对于我来说，其他任何人用在音乐中的创作过程，在我们jazz中，是演奏jazz。
CommentAuthorHi-iD CommentTimeApr 11th 2007 固定链接
“I’m using the insides of sounds to move around in a very subtle way which, I think, ends up being inevitable. I feel its the only solution to that particular problem that I presented myself.”
我用声音内在的东西以微妙的方式流动着，我认为这种微妙的方式以一种必然结束。我觉得这是我自己呈现出的问题的唯一解决方式。
“Especially, I want my work–and the trios if possible–to sing.”
尤其是，我想让我的作品-或者我的三重奏如果可以的话-唱出来。
“It bugs me when people try to analyze jazz as an intellectual theorem. It’s not. It’s feeling.”
当人们试着把jazz当作一种知性定理来分析的时候我会发疯，不，它是感觉。
“I’m believe that all people are in possession of what might be called a ‘universal musical mind.’”
我坚信所有人都有一种或许可以叫做“普遍音乐意识”的本能。
“I’m . . . a rather simple person with a limited talent and perhaps a limited perspective.”
我是……一个非常简单的人，有限的才能或许一些有限的视野。
“It’s like having a designer dress compared with one from Woolworth’s. Which one is more impressive when you go to the debutante ball?”
这如同一件来自设计师的衣服和一件来自Woolworth的，哪一件更有印象呢？当你初次去一个社交舞会 。
“We use the people who are in the bullpen producing.”
我们使用临时工。
“There is a Japanese visual art in which the artist is forced to be spontaneous. He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. Erasures or changes are impossible. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere. The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation. This conviction that direct deed is the most meaningful reflections, I believe, has prompted the evolution of the extremely severe and unique disciplines of the jazz or improvising musician. (liner notes to Miles Davis’ ‘Kind of Blue’) ”
在一种日本视觉艺术中，艺术家迫使需要自然的表达。他必须用一种特殊的画笔和黑色水彩在一张很薄的纸上作画，这样不自然或突然中断的一笔会破坏线条或戳穿画纸。擦除或涂改是不可能的。这些艺术家必须以特殊的方式作画，让想法在与手的交流中表达自己，思虑不能被打断，结果没有普通油画那样有复杂的元素和质感，但仔细的观看者会着迷其中那些脱离画面的东西。这证明直接行为是最有意味的回音，我相信，这刺激了jazz或即兴音乐中那些极端严格和特别的规则的进化。（Kind of Blue卷首语）
转自 Hi-iD （http://www.hi-id.com/talk/comments.php?DiscussionID=13）
“To the person who uses music as a medium for the expression of ideas, feelings, images, or what have you; anything which facilitates this expression is properly his instrument.”
对于那些想用音乐来表达想法，感觉，想象或其他任何东西的人来说，能过促成这种表达的就是他的乐器。
“Perhaps it is a peculiarity of mine that despite the fact that I am a professional performer, it is true that I have always preferred playing without an audience.”
也许这是我个人比较特别的，就是我从不当自己是一个专业的演奏者，我经常喜欢在没有一个观众的时候去演奏，这是事实。
“First of all, I never strive for identity. That’s something that just has happened automatically as a result, I think, of just putting things together, tearing things apart and putting it together my own way, and somehow I guess the individual comes through eventually.”
首先，我从来不会刻意去追求个人风格。我认为这些都是自然而然的，只需要把那些东西聚到一起，把他们撕碎，再用自己的方式组合起来，我认为个人风格就自然而至。
“My creed for art in general is that it should enrich the soul; it should teach spirituality by showing a person a portion of himself that he would not discover otherwise . . . a part of yourself you never knew existed.”
我对艺术的大致信条是它必须使灵魂丰盈；它要传达一种精神上的东西，展现一个人他自己没有发觉的一面……你自己从来未知但存在的一部分。
CommentAuthorHi-iD CommentTimeApr 11th 2007 修改于 固定链接
“I believe in things that are developed through hard work. I always like people who have developed long and hard, especially through introspection and a lot of dedication. I think what they arrive at is usually a much deeper and more beautiful thing than the person who seems to have that ability and fluidity from the beginning. I say this because it’s a good message to give to young talents who feel as I used to.”
我信任经过艰苦奋斗的东西。我喜欢那些经过艰苦奋斗的人，特别是通过内省和很多的付出。我认为他们会到达更深更美，比起那些看起来一开始就具有这些能力的人。我之所以这样说，因为对于那些和我以前一样那些年轻人才是好的建议。
“A guy is influenced by hundreds of people and things, and all show up in his work. To fasten on any one or two is ridiculous. I will say one thing, though. Lennie Tristano’s early records impressed me tremendously. Tunes like ‘Tautology,’ ‘Marshmallow,’ and ‘Fishin’ Around.’ I heard the fellows in his group building their lines with a design and general structure that was different from anything I’d ever heard in jazz.”
一个人会受到许许多多人和事物的影响作用，这一切也在他的作品中体现出来。但我需要说明一点，束缚于其中任何一两个是荒谬的。Lennie Tristano的早期录音对我影响很大。比如这些曲目‘Tautology’ ‘Marshmallow’ 和 ‘Fishin’ Around’，我从他们乐队中听到的设计过的乐句和一般结构，是我在jazz中从来没有听到过的。
“Technique is the ability to translate your ideas into sound through your instrument. This is a comprehensive technique . . . a feeling for the keyboard that will allow you to transfer any emotional utterance into it. What has to happen is that you develop a comprehensive technique and then say, Forget that. I'm just going to be expressive through the piano.”
技术是把想法通过乐器转化出来的一种能力，这是一种广泛的技术……对琴键的感觉会让你把任何情感语言转化表达出来，接着产生的就是你形成了一种广泛的技术然后说，抛开它，我只想通过钢琴来表达。
“When you begin to teach jazz, the most dangerous thing is that you tend to teach style…I had eleven piano students, and I would say eight of them didn’t it even want to know about chords or anything - they didn't even want to do anything that anybody had ever done, because they didn't want to be imitators. Well, of course, this is pretty naive…but nevertheless it does bring to light the fact that if you're going to try to teach jazz…you must abstract the principles of music which have nothing to do with style, and this is exceedingly difficult. So there, the teaching of jazz is a very touchy point. It ends up where the jazz player, ultimately, if he's going to be a serious jazz player, teaches himself.”
当你开始教jazz的时候，最危险的事就是你想去教风格……我有11个钢琴学生，我想说的是其中8个人连和弦什么的都不想去了解,他们不想去做别人已经做了的任何东西，因为他们不想成为模仿者。当然，这是非常天真的……但无论如何，如果你想去教jazz，这会给你带来一些事实的启示……你必须从音乐中抽取那些和风格无关的原则，这相当的困难，所以教jazz是非常烦恼的。一个jazz乐手如果本质上想成为一个优秀的jazz乐手，那么就教自己。
“It’s performing without any really set basis for the lines and the content as such emotionally or, specifically, musically. And if you sit down and contemplate what you�re going to do, and take five hours to write five minutes of music, then it�s composed music. Therefore I would put it in the classical or serious, whatever you want to call it, written-music category. So there�s composed music and there is jazz. And to me anybody that makes music using the process that we are using in Jazz, is playing Jazz.”
jazz演奏没有真正意义上的固定乐句和内容比如这些情感上的，特别的，音乐上的。如果你坐下来然后冥想你将要做的，用5个小时来写5分钟的音乐，这是作曲。因此我把他们归类到古典或者严肃音乐，随便你怎么称呼他们，作曲类。所以才会有作曲音乐和jazz之分，对于我来说，其他任何人用在音乐中的创作过程，在我们jazz中，是演奏jazz。
CommentAuthorHi-iD CommentTimeApr 11th 2007 固定链接
“I’m using the insides of sounds to move around in a very subtle way which, I think, ends up being inevitable. I feel its the only solution to that particular problem that I presented myself.”
我用声音内在的东西以微妙的方式流动着，我认为这种微妙的方式以一种必然结束。我觉得这是我自己呈现出的问题的唯一解决方式。
“Especially, I want my work–and the trios if possible–to sing.”
尤其是，我想让我的作品-或者我的三重奏如果可以的话-唱出来。
“It bugs me when people try to analyze jazz as an intellectual theorem. It’s not. It’s feeling.”
当人们试着把jazz当作一种知性定理来分析的时候我会发疯，不，它是感觉。
“I’m believe that all people are in possession of what might be called a ‘universal musical mind.’”
我坚信所有人都有一种或许可以叫做“普遍音乐意识”的本能。
“I’m . . . a rather simple person with a limited talent and perhaps a limited perspective.”
我是……一个非常简单的人，有限的才能或许一些有限的视野。
“It’s like having a designer dress compared with one from Woolworth’s. Which one is more impressive when you go to the debutante ball?”
这如同一件来自设计师的衣服和一件来自Woolworth的，哪一件更有印象呢？当你初次去一个社交舞会 。
“We use the people who are in the bullpen producing.”
我们使用临时工。
“There is a Japanese visual art in which the artist is forced to be spontaneous. He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. Erasures or changes are impossible. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere. The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation. This conviction that direct deed is the most meaningful reflections, I believe, has prompted the evolution of the extremely severe and unique disciplines of the jazz or improvising musician. (liner notes to Miles Davis’ ‘Kind of Blue’) ”
在一种日本视觉艺术中，艺术家迫使需要自然的表达。他必须用一种特殊的画笔和黑色水彩在一张很薄的纸上作画，这样不自然或突然中断的一笔会破坏线条或戳穿画纸。擦除或涂改是不可能的。这些艺术家必须以特殊的方式作画，让想法在与手的交流中表达自己，思虑不能被打断，结果没有普通油画那样有复杂的元素和质感，但仔细的观看者会着迷其中那些脱离画面的东西。这证明直接行为是最有意味的回音，我相信，这刺激了jazz或即兴音乐中那些极端严格和特别的规则的进化。（Kind of Blue卷首语）
