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1、美国名人音乐家查理帕克CharlieParker;1920-1955:HisMusicInfluencedJazzDuringhis1.ifetimeandEvenTodayplaystopmutemaxvolume00:00-15:30repeatByVivianBournazian2009-5-2VOICEONE:mShirleyGriffith.VOICETWO:AndmSteveEmberwiththeVOASpecialEnglishprogram,PeopleinAmerica.Today,wetellaboutoneofAmericasgreatestjazzmusicians,
2、CharlieParker.Heinfluencedthedirectionofjazzmusicduringhisshortlifetime.Hisinfluencecontinuestoday.(MUSIC)VOICEONE:CharlieParkerCharlieParkerforeverchangedtheperformanceandwritingofjazzmusic.Hedevelopedanewstyleofjazzcalledbebop.Itwasdifferentfromthedanceorswingstylethatwaspopularforyears.Performers
3、ofbebopleftthetraditionalmusicalmelodyandplayedasongfreely,withthemusicandrhythmthatwasfeltatthetime.So,thesamesongcouldbeplayedinadifferentwayeachtimeitwasperformed.CharlieParkersaid:Musicisyourownexperience,yourthoughts,yourwisdom.Ifyoudontliveitzitwontcomeoutofyourhorn.,VOICETWO:CharlieParkerwasb
4、ornAugusttwenty-ninth,nineteentwenty,inthemiddlewesternstateofKansas.Hehadhisfirstmusiclessonsinthelocalpublicschools.Hismotherboughthimasaxophoneinnineteenthirty-three.Twoyearslater,hedecidedtoleaveschoolandbecomeaprofessionalmusician.Forthenextfouryears,heworkedmainlyinKansasCity,Missouri,wherejaz
5、zmusichadbecomepopular.Charliedevelopedasamusicianbyplayingwithdifferentgroupsinpubliceatinganddrinkingplacescallednightclubs.Healsolearnedbylisteningtoolderlocaljazzmusicians.Duringthistime,Charliedevelopedseriousproblemsthatweretoaffecthimtherestofhislife.Hebecamedependentonalcoholandtheillegaldru
6、g,heroin.VOICEONE:Onenightinnineteenthirty-six,theyoungmusiciandecidedtotakepartinajamsession.MusiciansfromalloverKansasCitywouldplayforfunduringtheseunplannedperformances.Thesejamsessionsoftenbecamemusicalbattles.Thebetter,thefaster,thestronger,themorecreativemusicianwouldwin.Charliebegantoplaythes
7、axophonethatnight.Heplayedwellforawhile.Buthethenbecamelostinthemusic.ThedrummerthrewdownhisinstrumentandbroughtCharlietoahalt.Charlielatersaid:Iwenthomeandcriedanddidntplayagainforthreemonths.Theincident,however,madeCharlieworkevenhardertoimprovehisplaying.VOICETWO:Innineteenthirty-nine,Charliewent
8、toNewYorkCity.Hestayedforalmostoneyear.Hewasabletogetafewpayingjobsplayingthesaxophone.Mostofhistime,though,wasspentplayinginunpaidjamsessions.Itwasduringthistimethathebegantodevelophisownstyleofjazz.Hesaidlaterthatthiswaswhenhemadeabigdiscovery.Hewasunhappyplayingsongsthesamewayallthetime.Hethought
9、therehadtobeanotherwaytoplay.Hesaid:Icouldhearitsometimes,butIcouldntplayit.HebeganworkingonthesongCherokee.Heusedthehighernotesofachordasamelodylineandmadeotherchanges.Henowcouldplaythethingshehadbeenhearing.ItwasinDecember,nineteenthirty-nine,thatCharlieParkermadethisdiscovery.Helatersaidthatwithi
10、t,hecamealive.HereheisplayingCherokee11:(MUSIC)VOICEONE:CharlieParkerandMilesDavisplayinNewYorkCityin1947CharlieParkersnamefirstappearedinthepressreportsaboutmusicinnineteenforty.Duringthenextfiveyears,hejoineddifferentbands.HeplayedwiththeEarlHinesorchestraandtheBillyEckstineorchestra.Healsoplayedw
11、ithotheryoungjazzmusicianswhohelpedmakethenewsoundknown.TrumpetplayersDizzyGillespieandMilesDavis,andpianistsTheloniusMonkandBudPowellweresomeofthem.Parkerwasconsideredthegreatestofthebebopjazzmusicians.Thissong,NowstheTime/isoneofhishitsduringthistime:(MUSIC)VOICETWO:Parkerscontinuingdrughabitwasaf
12、fectinghim.Heoftenwaslateforperformances.Orhemissedthem.Hehaddecidedhedidnotlikethemusicofthebigbands.Heapparentlydidnotfeelateaseplayingwithabigband,evenonethatfollowedhisownmusicalideas.Innineteenforty-five,hereturnedtoNewYorkCity.Hehadtheideaofstartingasmalljazzgroup.InNewYork,hejoinedDizzyGilles
13、pie.TheirworktogetherwasamongthegreatestinAmericanmusichistory.Theyenjoyedthesupportofyoungermusicians.Yet,theyhadtofightthecriticismofthoseopposedtoanynewdevelopmentinjazz.Thatyear,CharlieParkerandDizzyGillespietookthenewjazzsoundtoCalifornia.Charliecontinuedtorecordandperformin1.osAngeles,evenafte
14、rDizzyreturnedtoNewYork.ItwasduringthistimethatParkerrecordedOrnithology:(MUSIC)VOICEONE:Innineteenforty-six,CharlieParkersufferedanervousbreakdown.Hisdependenceonheroinandalcoholledtothisseverementalcondition.Hewassenttoahospitalandstayedthereforsixmonths.HereturnedtoNewYorkCityinnineteenforty-seve
15、n.Thefollowingfouryearsareconsideredhismostsuccessful.Heformedhisownsmallbandsandplayedwithothergroups.HevisitedEuropethreetimes,whereherecordedabouthalfofthealbumsheevermade.InJuly,nineteenfifty-one,NewYorkCityofficialstookawayhisrighttoplayinnightclubsbecauseheusedillegaldrugs.Hisdebtsgreatlyincre
16、ased.Hisphysicalandmentalhealthbegantofail.VOICETWO:CharlieParkerwasgivenapermittoplayinNewYorkagaintwoyearslater.Jobs,though,weredifficulttofind.HefinallygotachancetoplayfortwonightsinMarch,nineteenfifty-five.ItwasatBirdland,themostfamousjazznightclubinNewYorkCity.Birdlandhadopenedinnineteenforty-n
17、ine.Itwasnamedafter,BirdasCharlieParkersfollowerscalledhim.Parkerknewthoseperformancesmightbehislastchancetore-claimthesuccesshehadgainedonlyafewyearsearlier.HislastpublicappearancewasonMarchfifth,nineteenfifty-five,atBirdland.Itwasnotasuccess.Hediedsevendayslaterofaheartattack.Hewasthirty-four.VOIC
18、EONE:CharlieParkersinfluenceonmodernjazzmusiccontinuestolive.Heledmanyartiststoplaywhattheyhear.Jazzmusicianscontinuetoperformhismusic,oftencopyinghissoundandstyle.But,expertssay,noonehaseverplayedthesameasBird.(MUSIC)VOICETWO:ThisSpecialEnglishprogramwaswrittenbyVivianBournazian.mSteveEmber.VOICEONE:AndmShirleyGriffith.JoinusagainnextweekforanotherPeopleinAmericaprogramontheVoiceofAmerica.
