时间:2019-01-17 作者:英语课 分类:2018年NPR美国国家公共电台6月


英语课

 


(SOUNDBITE OF JOHN COLTRANE'S "UNTITLED ORIGINAL 11383")


UNIDENTIFIED PERSON: 11382 - 383 original.


AUDIE CORNISH, HOST:


11383 original - the track you are listening to right now is special not only because of who plays it - John Coltrane's quartet - but because until now, hardly anyone had ever heard it. The song is part of a never-released studio album from 1963.


RAVI COLTRANE: To have an entire album of music surface - this is definitely a rare thing.


CORNISH: Saxophonist Ravi Coltrane, John Coltrane's son, stopped by our studio to tell us more about the uncovered recording 1.


COLTRANE: This recording was originally lost by ABC Records, which is now Universal Music. The engineer for this session, Rudy Van Gelder, would often make copies for the musicians for them to reference after the session. So these are my father's original copies of that session.


CORNISH: The recording was found by the family of Coltrane's first wife, Juanita Naima Coltrane. She had saved the copy. John Coltrane and his bandmates, bassist Jimmy Garrison 2, the drummer Elwyn Jones and the pianist McCoy Tyner, recorded this session in one day on March 6, 1963. Ravi Coltrane compiled the tracks. It's on a new album called "Both Directions At Once: The Lost Studio Album." To talk more about the exciting news, we also invited back our favorite jazz guide...


CHRISTIAN 3 MCBRIDE, BYLINE 4: That sounds like my brother Ravi.


(LAUGHTER)


CORNISH: ...Bassist Christian McBride, host of NPR's Jazz Night In America. I started by asking Christian to give us a sense of Coltrane's career at that time.


MCBRIDE: You could say it was a very healthy period in the history of jazz. And John Coltrane was the leading voice in balancing both the previous generation, you know, coming from Miles Davis' band and then also leading the way for some of the new school and the freer-thinking players.


CORNISH: So Ravi Coltrane, is this why the album is called "Both Directions At Once"?


COLTRANE: Well, for us and for why that phrase seemed to make a very relevant title for this album is because of the period that the record was recorded at. 1963, as Christian did point out - it's a very fertile period for John Coltrane and this band. But it's also a - kind of a midpoint between his earlier musical life which did consist of playing lots of blueses (ph), slow blueses (laughter) and bebop tunes 7 to where he would eventually end up, you know, in his musical explorations - you know, much freer music. So for John Coltrane in 1963 - does feel like he has one foot in the past and one foot in the future, you know? And with this music, you do get sort of both of those directions in John's music at once.


(SOUNDBITE OF JOHN COLTRANE'S "UNTITLED ORIGINAL 11386")


CORNISH: Ravi Coltrane, you helped order the songs, right? And I notice that they don't have titles - for instance, "Untitled 11383" (ph).


COLTRANE: You don't like that title?


CORNISH: Well...


(LAUGHTER)


COLTRANE: It's kind of catchy 8.


CORNISH: I was wondering why they had those titles.


COLTRANE: Well, those titles are actually the original slate 9 numbers that the producer of the session would apply to any recorded material so they could organize which songs had been recorded that day. So it's just a serial 10 number to identify the tape.


(SOUNDBITE OF JOHN COLTRANE'S "UNTITLED ORIGINAL 11386")


CORNISH: For those of us who aren't sure what to listen for, how do you listen to music like this that, like, wasn't in the end released? How are you listening in terms of the development of the group?


MCBRIDE: Well, listening to these newly found tracks, I had to put into context. You know, remembering the recordings 11 that the Coltrane Quartet made the previous year, the album "Coltrane" and then the record with Duke Ellington and to think that - you know, where they will go in the following year with "Crescent" and "A Love Supreme 12"...


COLTRANE: That's right.


MCBRIDE: ...This is sort of, like, maybe toward the beginning of the second half of this band's development.


(SOUNDBITE OF JOHN COLTRANE'S "UNTITLED ORIGINAL 11386")


COLTRANE: The music has a purity to it. I mean, that's the one thing that you can always rely on. And the foundation of this music, jazz music, is improvisation 13. They're reacting to each other's calls and responses and riffs and phrases and textures 14. And it has a very sort of in-the-moment sort of impetus 15, you know? So there isn't one (laughter) specific way to hear this music. You have to kind of open up your ears. Open up your sensibilities a bit, you know? Be open for a new experience, you know, if this is new music for you.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES 5")


CORNISH: Christian, for you, is there a song in particular that struck your ear?


MCBRIDE: I really enjoyed listening to "Slow Blues" 'cause Trane never got enough of the blues.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES")


MCBRIDE: The blues form and the blues sound, I think even in his later days as he was starting to really embrace more of an abstract sort of sound - that blues never left. The sound of the blues never left his horn.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES")


COLTRANE: Of course I would agree with what Christian says about John and his blues playing that he was really a blues man, I mean, throughout his entire career even into the avant-garde period. But the unique feature of this tune 6 - it's - I mean, they start off trio without piano accompaniment.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES")


COLTRANE: The saxophone solo stretches out for a little bit.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES")


COLTRANE: So you think it is a trio piece, and suddenly in the middle of this long track, you know, we hear the entrance of McCoy Tyner.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES")


COLTRANE: I don't think they had ever really done anything like that in the studio. That was something more that was a feature of their live performances. It sort of gives it a new feel, new touch.


(SOUNDBITE OF JOHN COLTRANE'S "SLOW BLUES")


CORNISH: Now that you guys have had time to really live with this music - you especially, Ravi - what do you think is the value of people hearing it today?


COLTRANE: You know, it just - it's kind of like a little time capsule. I mean, it gives us a glimpse 50 years in the past, you know, of this incredible working band, John Coltrane Quartet. And what they were doing, I mean, has the utmost depth and sincerity 16. I mean, these guys were not trying to be hip 17. These guys were very, very hardworking players, you know? And they happened to be innovative 18, creative-thinking individuals, you know? I mean, it's an incredible buried treasure to have this emerge today.


(SOUNDBITE OF JOHN COLTRANE'S "IMPRESSIONS")


CORNISH: Bassist Christian McBride, thank you so much.


MCBRIDE: Always a pleasure, Audie.


CORNISH: And saxophonist Ravi Coltrane, thank you for talking about this album with us.


COLTRANE: It was a pleasure. Thank you so much.


CORNISH: John Coltrane's recently discovered music is being released on the album "Both Directions At Once: The Lost Studio Album." It's out June 29.


(SOUNDBITE OF JOHN COLTRANE'S "IMPRESSIONS")



n.录音,记录
  • How long will the recording of the song take?录下这首歌得花多少时间?
  • I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。
n.卫戍部队;驻地,卫戍区;vt.派(兵)驻防
  • The troops came to the relief of the besieged garrison.军队来援救被围的守备军。
  • The German was moving to stiffen up the garrison in Sicily.德军正在加强西西里守军之力量。
adj.基督教徒的;n.基督教徒
  • They always addressed each other by their Christian name.他们总是以教名互相称呼。
  • His mother is a sincere Christian.他母亲是个虔诚的基督教徒。
n.署名;v.署名
  • His byline was absent as well.他的署名也不见了。
  • We wish to thank the author of this article which carries no byline.我们要感谢这篇文章的那位没有署名的作者。
n.抑郁,沮丧;布鲁斯音乐
  • She was in the back of a smoky bar singing the blues.她在烟雾弥漫的酒吧深处唱着布鲁斯歌曲。
  • He was in the blues on account of his failure in business.他因事业失败而意志消沉。
n.调子;和谐,协调;v.调音,调节,调整
  • He'd written a tune,and played it to us on the piano.他写了一段曲子,并在钢琴上弹给我们听。
  • The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。
n.曲调,曲子( tune的名词复数 )v.调音( tune的第三人称单数 );调整;(给收音机、电视等)调谐;使协调
  • a potpourri of tunes 乐曲集锦
  • When things get a bit too much, she simply tunes out temporarily. 碰到事情太棘手时,她干脆暂时撒手不管。 来自《简明英汉词典》
adj.易记住的,诡诈的,易使人上当的
  • We need a new slogan.The old one's not catchy enough.我们需要新的口号,旧的不够吸引人。
  • The chorus is very catchy to say the least.副歌部分很容易上口。
n.板岩,石板,石片,石板色,候选人名单;adj.暗蓝灰色的,含板岩的;vt.用石板覆盖,痛打,提名,预订
  • The nominating committee laid its slate before the board.提名委员会把候选人名单提交全体委员会讨论。
  • What kind of job uses stained wood and slate? 什么工作会接触木头污浊和石板呢?
n.连本影片,连本电视节目;adj.连续的
  • A new serial is starting on television tonight.今晚电视开播一部新的电视连续剧。
  • Can you account for the serial failures in our experiment?你能解释我们实验屡屡失败的原因吗?
n.记录( recording的名词复数 );录音;录像;唱片
  • a boxed set of original recordings 一套盒装原声录音带
  • old jazz recordings reissued on CD 以激光唱片重新发行的老爵士乐
adj.极度的,最重要的;至高的,最高的
  • It was the supreme moment in his life.那是他一生中最重要的时刻。
  • He handed up the indictment to the supreme court.他把起诉书送交最高法院。
n.即席演奏(或演唱);即兴创作
  • a free-form jazz improvisation 自由创作的爵士乐即兴演出
  • Most of their music was spontaneous improvisation. 他们的大部分音乐作品都是即兴创作的。
n.手感( texture的名词复数 );质感;口感;(音乐或文学的)谐和统一感
  • I'm crazy about fabrics textures and colors and designs. 我喜欢各式各样的纺织物--对它的质地,色彩到花纹图案--简直是入了迷。 来自辞典例句
  • Let me clear up the point about the textures. 让我明确了一点有关的纹理。 来自互联网
n.推动,促进,刺激;推动力
  • This is the primary impetus behind the economic recovery.这是促使经济复苏的主要动力。
  • Her speech gave an impetus to my ideas.她的讲话激发了我的思绪。
n.真诚,诚意;真实
  • His sincerity added much more authority to the story.他的真诚更增加了故事的说服力。
  • He tried hard to satisfy me of his sincerity.他竭力让我了解他的诚意。
n.臀部,髋;屋脊
  • The thigh bone is connected to the hip bone.股骨连着髋骨。
  • The new coats blouse gracefully above the hip line.新外套在臀围线上优美地打着褶皱。
adj.革新的,新颖的,富有革新精神的
  • Discover an innovative way of marketing.发现一个创新的营销方式。
  • He was one of the most creative and innovative engineers of his generation.他是他那代人当中最富创造性与革新精神的工程师之一。
学英语单词
adverse weather condition
afterburn
ammonium imines
amphidrome
aptocholecystectomy
as drunk as an owl
basualdo
biscogniauxia formosana
blockheadisms
bring it on!
British Export Board
by the log
Cassia acutifolia
circular economy
core exit pressure
deposition sedimentation
destination task
direct viewingtype
direction of deviation
do justice to a dinner
Dulong and Petit's rule
electrostatic displacemen
ellipticity angle
estrategia
falcn
flow value
furnace atmosphere
future public land mobile telecommunications systems
glacier lake
govanianum
Granadilla foetida
Hematol
high speed plough
Huazhong
huyr
hybrid watch
impeller seals
intensity modulation scan
intrinsic redshift
Jhunjhunu
Lalimbuë(Lalimboee)
leaf tree
Leonurus heterophllus
long - term performance
look on the dark side of things
lundahl
make a victim of
medium grained
Michaelmastide
monoballism
n-max
neurocoeles
non-adiabatic rectification
normal spectral measure space
note for growth habit
numerical reservoir model
nyberg
of little worth
one-dimensional disorder
oxygen ratio
pandemic planning
Penapolis
phase of crystallization
pleurosigma strigosum
politican
postmortem wound
primordians
pristipomoides typus
protentomon
purchasing-manager
radial stay
randomized complete-block design
reiterative
rubus peltatus maxim.
saccoes
sales received in advance
satellite electronic countermeasures system
ship integrated power system
shoot range
soft-server
sopas
spermine
ST_moving-up-or-down_up-and-upward
stage party
stargazy pies
start on
stinky pinky
subcritical reactivity
tax on sales and turnover
touch-screen terminal
treasurydirect.gov
ultraviolet microspectrometry
unfutured
uninterruptible
unremembers
vareniki
Verrucomorpha
very low-density lipoprotein
warve
whole body autoradiograpy
yanbaru