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That adventure was to last a lifetime. Over the decades he won 23 Grammys and 67 nominations for his reinvigoration of jazz. He played to packed houses the world over, touring with barely a break. Yet he found it odd to be celebrated as a jazz-fusion pioneer, as if you could say where one sort of jazz ended and another began. He treated music more like a swimming pool, where he just jumped in and had fun.
这样的冒险将持续一生。在过去的几十年里，他获得了23项格莱美奖和67项格莱美奖提名，为重振爵士乐做出巨大贡献。他在世界各地演出，场场爆满，巡回演出几乎是连轴转。然而，他觉得自己被誉为“爵士融合的先驱”很奇怪，就好像人们谈论一种爵士乐的没落和另一种爵士乐的兴起。他对待音乐更像一个游泳池，他只是跳进池里，游得尽兴罢了。
Fusion, in any case, went on all the time. As soon as you played a piece with anyone, you exchanged ideas. As a young player in New York in the 1960s he had learned from everyone he gigged for: from Stan Getz, who tamed his wildest side and taught him melodic simplicity, to Mongo Santamaria, who shaped his African-Cuban instincts with the beat of a conga drum. (He felt so passionately Spanish, or Cuban, by the end of his gigs in Harlem that it was odd to think his ancestry was Italian.) Even the “older guys”, Mozart, Chopin, Scriabin, were still teaching him, his kindred spirits. He once wove Mozart’s Sonata in F major into Gershwin’s “The Man I Love”, and was amazed at how well they went together.
无论如何，碰撞融合一直在进行。只要与人合奏，大家就会交流心得。上世纪60年代，奇克还是纽约的一名年轻演奏者，他向所有的合作伙伴虚心求教：斯坦·盖茨(Stan Getz)驯服了他最野性的一面，教他简单的旋律；蒙戈·桑塔玛利亚(Mongo Santamaria)用康加鼓的节拍塑造了他非洲古巴人的本能。(在哈莱姆区的演出结束时，他产生一种自己是热情的西班牙人或古巴人的错觉，甚至觉得自家祖先是意大利人的理念十分荒诞。)甚至那些“老家伙”，莫扎特、肖邦、斯克里亚宾，也在潜移默化地影响着他，找到志同道合的人。他曾把莫扎特的F大调奏鸣曲编入格什温的《我爱的人》中，并为二者的完美结合而感到惊讶。
In music, jazz especially, one exploration naturally led to another. He had only to think how he composed, hearing a tune in his head, playing off it, adding on, doodling with crayons to jog his creativity along. Sometimes he wrote phrases down, or composed at a keyboard so they were stored. All too often, though, he couldn’t catch them.
在音乐领域，尤其是爵士乐版块，每一次探索自然会引领出另一番天地。他只需要思考如何作曲，脑海里谱出一段曲子，演奏出来，不断修改，用蜡笔涂鸦来激发他的创造力。有时，他会把乐谱写下来，或者在键盘上作曲，这样就可以把曲子记录下来。但很多时候，他都捕捉不到这些音符。
Music, like a waterfall, never stayed still, and nor did bands. But that was good. Every change of players brought in something fresh.
音乐像瀑布一样，从来不会静止不动，乐队也一样。而可贵之处正在于此。每一次演奏都会带来一些新鲜的东西。
An Egyptian snare drum sent his music in one direction, a flute in another. He tried duos with a vibraphone-player, Gary Burton, and a banjoist, Bela Fleck, to see what strange, thrilling sounds came through.
埃及小鼓将他的音乐引向一个方向，长笛则引向另一个方向。他试着与电颤琴演奏者加里·伯顿(Gary Burton)和班卓琴演奏者贝拉·弗莱克(Bela Fleck)同台表演，就是想知道能碰撞出什么奇怪而又刺激的声音。
When he set up an online academy later and asked the young to send in questions, it was at least partly to provoke new thoughts. He welcomed wrong notes, didn’t much mind miscues: they could pitch him down a different path.
后来，他建立了一个线上学院，并让年轻人提问，这至少在一定程度上是为了激发新思路。他欢迎错误的意见，不介意出现失误：它们可能会让他走上一条不同的道路。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
