【英日対訳】ミュージシャン達の言葉what's in their mind



8. Moving it Forward: The New, New Thing 

前へ動かすこと、新しい、新しいこと 2003年9月10日  


September 10, 2003 


Dear Anthony, 

Your last letter actually made me run to the gift shop for some new stationery and a new pen. Man, you got me going, because that letter of yours held a question that so perfectly reflected a great confusion of our time, one that frustrates so many young jazz musicians as they grow to maturity. I just had to read it aloud to the guys on the bus: You wanted to know the importance of creating something new, modern, and forward-looking when you play jazz, the importance of moving the music forward. That's frozen tundra you're invading my friend, though it seems to be the mantra of the modern student. Sit down a second; let's talk about what innovation means, and what it does not, and how to avoid this crippling fallacy that befalls young musicians. 






9.That's frozen tundra you're invading my friend, though it seems to be the mantra of the modern student 


関係詞・省略(tundra you're) 不定詞(to be)  



We've equated our belief and understanding of art with our view of technology. We think a piece of art is akin to an automobile: This version is better than the Model T. Therefore, we don't need the Model T. Louis Armstrong played through the bebop era up to the rock era. Though he was considered old-fashioned by some, no one replaced him. Coltrane came up with new ways to play harmonies, very interesting things that worked for him. Other people imitated him, and those ideas became part of the so-called “new thing” for the span of time it remained in vogue. But these ideas that Coltrane presented didn't move the art of jazz forward. It wasn't standing still when he arrived. Jazz merely expanded to accomodate his sound. Take those devices out of jazz, and it doesn't go back anywhere. No art does. Perhaps a case can be made for Armstrong moving jazz forward, because he taught everyone in his era to swing. However, the value of his art today is not its relationship to the swing of his times but in the continuing impact of the depth of his music on our souls today. You see, that's why artists speak across epochs. Styles of art change but the technology of the human soul doesn't. How are you going to move past touching the soul? 





9.Coltrane came up with new ways to play harmonies, very interesting things that worked for him 


不定詞(to play) 関係詞(that)  

17.Perhaps a case can be made for Armstrong moving jazz forward, because he taught everyone in his era to swing 


現在分詞(moving) 不定詞(to swing) 



For all practical purposes, there is no such thing as moving music forward. You can't move it. You suffer from a tremendous illusion if you truly believe you can or hope to do so. And you play into the idea of a generation gap that pits the young against the elders ― always a bad idea for both. People don't move music anywhere unless they're on a float. Seek to create a defined place of your own with your music. Bach was considered old-fashioned at the time. But in our time, his world of music is indispensable. Yes, he introduced approaches that didn't negate or surpass one iota of Palestrina's music. Beethoven's music did not negate the Brandenburg concertos of Bach, or the phenomenal music of Mozart. 





6.Seek to create a defined place of your own with your music君の音楽で君自身の定義された場所を創ることを求めなさい:不定詞(to create) 過去分詞(defined)  



Let me go broader. Look at Picasso. Did his style, with his changing forms and completely original ways of looking at fundamentals, surpass the power of artists like Matisse or Goya? I'd say no. Even though his styles became the norm for generations of painters. Following him was their choice. Has anyone, even Shakespeare, moved literature forward? Many great writers with different styles have been born, lived, wrote furiously, and died. Did they reveal more of the human character than Homer? Different, yes ― but so much more as to make Homer unnecessary or out of mode? I don't think so. In art, there is only one generation, the generation of man. And whether it means a toga, a ruffled collar, a tuxedo, a three-piece, or jeans, it speaks the same language. That's why the arts survive when whole civilizations perish. And remain useful. 




23.Different, yes - but so much more as to make Homer unnecessary or out of mode? 


不定詞/make+O+C(to make Homer unnecessary) 



As jazz musicians the great majority of us will not invent a new world of music inhabited by our disciples. Our challenge rests in something we already possess. Our own unique way of playing, as unique as our speaking voice. Now, does that mean you have the potential to be an innovator and creat a unique world that becomes the norm for legions? Don't bank on it. 





When a student can feel successful only if his or her work rivals the best work of the greatest artist ever, here comes depression, then a philosophy that attacks people who can play, then quitting. Two million people go to law school; you pull out the five greatest lawyers in history and say, “This is the standard of excellence by which you will be judged, pass or fail. If you are not equal to this level, you will not pass this course. Now, the first class may be eager to try that. But after the successive generations fail, who in their right mind will want to be a lawyer? So, first, don't think that you will move music anywhere. It's too heavy. And, second, don't feel that your basic level of success as a jazz musician is to be one of the great innovators of all time.  




No one can teach you to be an innovator or even discourage you from being one. But someone can teach you to be a fine musician. How is it, given the near impossibility and the obvious absurdity for the goal, that thousands of jazz students all over the world think as you do, Anthony? I've heard that voiced in classes from Savannah to Sydney. “Yeah, we must do something new; must move the music somewhere to be successful.” I've heard it for years. And in all those years, how many of those students moved the art form forward? Not one. Their goal killed them. Say I want to get back in shape but I don't articulate the goal that way, to you or myself. I tell you I'm going to be a decathlete and my goal is the 2012 Olympics. And I'm forty-one years old. Man, I probably won't even get in shape, much less make the Olympic team. Now, if I say, “I want to lose thirty pounds and tomorrow I'm going to get up and run a mile and half, an I will try to go up a half mile every two weeks.” Well, I might just lose ten of those thirty pounds in the next month. 




25.How is it, given the near impossibility and the obvious absurdity of the goal, that thousands of jazz students all over the world think as you do, Anthony? 


分詞構文・条件句(given) 関係詞・非制限用法(that) 



When you start out withan impossible thought, you've lost a battle from the outset, unless you're one of the ordained  

ones, of course. I met Michael Jordan when he was in college. He said, “Man, when I get in the NBA, I'm going to show people what basketball is about!” Me and the other guys in the room just laughted. We thought, “This guy is crazy. He's not even tearing up the NCAA.” In this case he knew. 





16.When you start out with an impossible thought, you've lost a battle from the outset, unless you're one of the ordained ones, of course 


条件節(When) 現在完了(you've lost) 



But if you're not the rare ordained individual, you'll fight an unwinnable battle with the crushing weight of your own expectation. You've lost before you've started. The fruitless struggle merely serves to lead you away from your real objective ― in our case, learning how to play. Instead of just trying to be good, and learning your instrument, you're set on scaling Everest with no climbing gear. I'd like to hear more musicians saying. “I want to be one of the best trained musicians ever. I want to be able to transpose, I want to improve my reading, I want to be able to play with two hands, I want to play more coherent solos.” Now, I'm not advocating unambitious goals, only calling for some reality. Jazz allows for so much creativity for those with fair to good talent. That's one of its greatest strengths. It challenges and accepts people on all levels. But you, Anthony, have a better chance. 




25.The fruitless struggle merely serves to lead you away from your real objective - in our case, learning how to play 


不定詞(to lead) 動名詞(learning) 疑問詞+不定詞(how to play)  

[p.94,4]I'd like to hear more musicians saying, “I want to be one of the best trained musicians ever 


仮定法(I'd) 不定詞/知覚動詞+O+現在分詞(to hear more musicians saying) 



You have a better chance of joining the group of great musicians who created their own sound inside of a style ― Clifford Brown, Stan Getz, or J. J. Johnson, for instance. I wonder, did anybody tell you to consider yourself a success if you attain your own sound? 


君には、人より大きなチャンスがある。自分のスタイルの中に独自のサウンドを創り出した、偉大なミュージシャン達の仲間入りをするチャンス - 例えばクリフォード・ブラウンスタン・ゲッツ、J.J.ジョンソンみたいなね。でも考えると、「自分自身のサウンドを創り出せたなら、自分は成功したと思え」なんて、誰も言ったことは無いな。 



15.I wonder, did anybody tell you to consider yourself a success if you attain your own sound? 


反語(did?) 仮定法・現在(if you attain) 



Look, Ant, I'm not saying you don't have a chance to be great. But in your training, in your education, in your basic philosophy, if all the members of your field feel good about themselves only if they're on the supreme level, how can anyone feel good about playing? Should all these cats playing Major League Baseball today feel bad about it because they can't play like Babe Ruth ? Isn't making the major leagues worth something? You might quit playing from sheer frustration. 




25.You might quit playing from sheer frustration 


仮定法(might) 動名詞(playing) 



What about redirecting your priorities? Instead of “I have to be one of these six great innovators or I'm not a success,” you could say, “Hey, these are six great people. And I strive for that same level of power; at worse I would like to develop my own distinct sound.” Thinking of Ornette Coleman might be instructive here. Coleman, even in the pantheon of innovation, rings unique. You may imagine him being consumed with marching the legacy and likes of the Louis Armstrongs of the world. You may imagine him competitive in the modern sense. You imagine him taking aim at a summit occupied by other names in the effort to achieve his own glory, his own recognition. But you have to think past our ear, where self-promotion becomes the achievement. One of the hardest things to do is think across eras, to another time when people aspired to different things. 





10.You may imagine him taking aim at a summit occupied by other names in the effort to achieve his own glory, his own recognition 


imagine+O+現在分詞(imagine him taking) 過去分詞(occupied) 不定詞(to achieve)  



Coleman didn't set out to be as great as Armstrong, or anyone else. He once told me, “Music is not a race, it's an idea.” Coleman tried to play in a way that would gain him respect from the people he considered peers. That remained his concerns; the same concern held by a Paul Desmond or a Cannonball Adderley. Now, as things turned out, many musicians didn't respect what Coleman played. So he had to fight for his identity. And he maintained his identity and his way of playing regardless of what musicians said about him. 




19.Coleman tried to play in a way that would gain him respect from the people he considered peers 


不定詞(to play) 関係詞(that) 関係詞・省略(people [that] he)  

24.And he maintained his identity and his way of playing regardless of what musicians said about him 


動名詞(playing) 関係詞(what) 



When Ornette's group took the bandstand in New York, they'd look up and, wow, there's Wilbur Ware, there's so-and-so. Peer respect meant something to them. Maybe they didn't mouth that concern openly. But you hear it in their music. You see it in their practice philosophy, and in all the things they did to work their concepts up. They were serious about presenting that music for New York. They didn't stay in Texas. They didn't stay in Los Angeles, or whatever other hometowns they had. They wanted to be in New York because the people who could play were in New York. You became a jazz musician in the Apple. 





10.They wanted to be in New York because the people who could play were in New York 


不定詞(to be) 関係詞(who) 



For all of Ornette Coleman's brilliance, and he is a brilliant musician of the highest order, he became one of the first wave of musicians to mainly play his own music, in his own context. Although he gave us an interesting and new way to approach playing melodies and addressing form, that was the beginning of the demise of a standard. And this is how things change. Did he move the music forward? I don't think so. That's why I like to think about Duke Ellington's concept of total jazz. Ornette's way of playing just becomes another part of the complete package. Not the new way to go. 




I don't relate all of this to say that you can or will be an innovator like Coleman, or that you won't. You alone know what you can be and what you are capable of. But I do know that if your expectation for yourself far ourweighs your talent, as the time passes and it becomes more and more apparent to you that you won't reach your goals, you'll get discouraged and quit. Now, quitting doesn't mean that you'll give your horn up. Quitting means that I might see you with a strange hairstyle. Or I might see you with some new jazz clique somewhere. 




Never quit. Because whether or not you reach your goal as a musician, you can always participate significantly in this music. Always act in accordance with what you know. Don't adjust your philosophy to your limitations or failures. Never quit. Focus on becoming a good musician. I want you to want that. Invest in your discipline, your practice, and your personal growth. Develop your soul by participating in the lives of other people in a positive way, through giving. You know, some people think the Boy Scouts are corny, but they have a community-service component. They might be focused on going for merit badges or winning jamborees, but a Scout has to go do something for the community as well. That's an important concept, because it means that activities must also have an objective of the soul. And that's what can heal our whole nation. We need soul objectives on a high level, a level higher than the pursuit of money and one-upmanship over another person. 




As Art Blakey said, “You never see an armored car following a hearse.” Be serious about these tasks and you'll earn the restpect or jealousy of your peers. And if genius plans to meet you down the road, you won't miss the introduction, man. 




In the Sweet By and By.