An interview with Wynton Marsalis, a noted jazz musician
对著名爵士音乐家温顿·马萨利斯的采访
Did anyone promote your musical education when you were growing up?
在你长大的时候，有人对你的音乐教育有帮助吗？
There were the older jazz musicians who hung around our house when I was young. I saw how much they practiced, how serious they were about their art. I knew then I had to work just as hard if I wanted to succeed. Of course, my father inspired me a lot, and many teachers took the time to nurture my talent and the talents of other students in our school.
我小的时候，有一些年长的爵士音乐家在我们家附近。我看到了他们刻苦练习，他们对自己的艺术有多么认真。我知道，如果我想成功，我必须同样努力。当然，我的父亲给了我很多启发，许多老师花时间培养我和学校其他学生的才能。
Do established musicians have a responsibility to guide and assist young up-and–coming musicians?
老牌音乐人是否有责任指导和帮助年轻的后起之秀？
Yes. We’ve done such a poor job with music education because, as a society, we haven’t maintained the kind of education that a true artist and musician needs. Young people haven’t been able to equate romance and talent with music. For instance, most of the people who make it in the music industry today have to look good. How they sound is secondary. Sarah Vaughan, Bessie Smith, Ella Fitzgerald — those big, romantic queens of jazz music wouldn’t make it in today’s music industry, and that’s a shame. We need to teach young people about the alternatives.
有的。我们在音乐教育方面做得很糟糕，因为作为一个社会，我们没有保持真正的艺术家和音乐家所需要的那种教育。年轻人无法将浪漫和天赋与音乐相提并论。例如，今天在音乐界崭露头角的大多数人都必须看起来很好，他们的声音是次要的。莎拉·沃恩、贝西·史密斯、艾拉·菲茨杰拉德-那些爵士音乐中的浪漫女王们不会在今天的音乐界崭露头角，这是一种耻辱。我们需要教年轻人如何选择。
What kind of “world music” do you enjoy?
你喜欢什么样的“世界音乐”？
Around the world people make music that, if you listen carefully to it, sounds a little like the cadence of their language. I’d call it folk music. When I’m away from home, I make a point of listening to regional folk music, not what’s on the radio.
在世界各地，人们制作的音乐，如果你仔细听的话，听起来有点像他们语言的节奏。我称之为民间音乐。当我不在家时，我会重点听当地的民间音乐，而不是收音机里的音乐。
What’s wrong with the music on the radio?
收音机里的音乐怎么了？
The same music is on the radio all over the world, and the American sound is overwhelming. Even the pop music that’s produced and created in foreign countries has that American beat, that underscore of funk. As a musician, I’m not interested in hearing recycled versions of the same genre over and over. Any music that doesn’t have a development section just isn’t interesting to me.
同样的音乐在世界各地的广播中播放，美国的声音令人难以抗拒。即使是在外国制作和创作的流行音乐，也有美国的节拍，即放克的强调。作为一名音乐家，我对反复听到同一流派的回收版本不感兴趣。任何没有发展部分的音乐对我来说都没有意思。
Does the contemporary music press give jazz the coverage it deserves?
当代音乐媒体是否给予爵士乐应有的报道？
The music press has so much to introduce these days, and jazz is just a small fraction of it. Because some people are intimidated by jazz, they don’t cover it unless it’s a big name. new jazz musicians don’t get much of break. A lot of editors don’t say anything about jazz these days unless it’s Marsalis. That’s a shame. What VH1 is doing with their Save the Music campaign is phenomenal. They’re getting all these instruments out to needy kids. It’s the kind of thing all networks should be doing.
现在音乐媒体有很多东西要介绍，爵士乐只是其中的一小部分。因为有些人被爵士乐吓倒了，除非它是一个大名字，否则他们不会报道它。新的爵士乐音乐家没有太多的休息时间。很多编辑现在都不谈论爵士乐，除非它是马萨利斯。这是一个遗憾。VH1在拯救音乐运动中所做的事是惊人的。他们正在把所有这些乐器送给贫困的孩子所有网络都应该做的事情。
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