18 萊昂內(nèi)爾·漢普頓
Lionel Hampton is a frenetic jazz vibraphonist, gifted bandleader and storied showman who was one of the most celebrated musicians of the swing era and went on to a six-decade career on the American stage.
萊昂內(nèi)爾·漢普頓是一位極富激情的爵士樂(lè)電顫琴演奏家、極具天賦的樂(lè)隊(duì)領(lǐng)隊(duì),爵士樂(lè)史上著名的表演家。他是強(qiáng)節(jié)奏爵士樂(lè)時(shí)代最富盛名的音樂(lè)人之一,在美國(guó)舞臺(tái)上有60年的演藝生涯。
Hampton has cut hundreds of records. He was known for tremendous energy and for directing bands that were among the most long lived and consistently popular large ensembles in jazz. His work has been hailed by everyone from presidents to jazz critics and endorsed by the public through enthusiastic attendance of his performances and unending sales of his records.
漢普頓錄制了數(shù)百?gòu)埑K跃Τ渑妫M建了爵士樂(lè)壇上長(zhǎng)盛不衰的大型樂(lè)隊(duì)而聞名遐邇。他的作品受到了從總統(tǒng)到爵士樂(lè)評(píng)論家的贊賞和公眾的支持。他們瘋狂地觀看他的演出,不斷地購(gòu)買(mǎi)他的唱片。
Hampton was born on April 20,1908,in Louisville, Kentucky. He began working as a drummer when he was a teenager. He spent many of his formative musical years in Los Angeles, playing with top local bands and some great national figures as they came through town. Among them were Louis Armstrong -- who first encouraged him to play the vibraphone and, later, Benny Goodman. He was one of the first musicians to bridge the racial gap between blacks and whites in jazz. He joined drummer Gene Krupa and pianist Teddy Wilson to form the multiracial Benny Goodman quartet in the 1930s. Hampton later recalled, “I didn’t recognize that it was a social advancement, but it was the first time blacks and whites ever played together out in public.”
1908年4月20日漢普頓出生在肯塔基州的路易斯維爾。十幾歲時(shí)他當(dāng)了一名鼓手。在洛杉磯度過(guò)的數(shù)年是他的音樂(lè)風(fēng)格形成期。他同當(dāng)?shù)仨敿獾臉?lè)隊(duì)和一些來(lái)小鎮(zhèn)演出的杰出音樂(lè)人同臺(tái)演出。這里面有路易斯·阿姆斯特朗,是他第一個(gè)鼓勵(lì)漢普頓演奏顫音琴。后來(lái)他又遇到了本尼·古德曼。漢普頓是第一個(gè)打破爵士樂(lè)中 種族隔閡的音樂(lè)人之一。20世紀(jì)30年代,他與鼓手吉恩·克魯帕和鋼琴演奏家特迪·威爾遜組建了多種族的本尼·古德曼四重奏樂(lè)團(tuán)。漢普頓后來(lái)回憶說(shuō):“我并沒(méi)有意識(shí)到這是一種社會(huì)進(jìn)步,但這確實(shí)是黑人和白人第一次在公眾場(chǎng)合同臺(tái)演出。”
By 1930, he was touring extensively on the West Coast with his own groups, making records and enjoying billing as the “fastest drummer in the world”,when he struck his first note on a vibraphone. He played with Armstrong’s group for a year, establishing the vibraphone as a jazz instrument and himself as its top interpreter.
到1930年,漢普頓同他的樂(lè)隊(duì)沿西海岸巡演,錄制音樂(lè),榮登排行榜上“世界上最快的鼓手”。這時(shí)他開(kāi)始演奏顫音琴。漢普頓同阿姆斯特朗的樂(lè)隊(duì)演出了一年。他把顫音琴確定為爵士樂(lè)的演奏樂(lè)器,而他自己也 成為該樂(lè)器最出色的闡釋者。
Hampton played the vibes with lightning swiftness and harmonic and melodic simplicity and the drums with a fierce, driving rhythm. He became a household name after recording such hits as Moonglow and Dinah with Goodman in the 1930s and continued to make the charts in the 1940s and 1950s.
漢普頓演奏顏音琴時(shí)輕靈、和諧、旋律簡(jiǎn)潔優(yōu)美,而擊鼓時(shí)則活力四射,節(jié)奏強(qiáng)勁。20世紀(jì)30年代他與古德曼共同錄制了熱門(mén)金曲Moonglow和Dinah,成為家喻戶(hù)曉的人物。40年代和50年代他的唱片一直暢銷(xiāo)不衰。
In 1940,he left Goodman and started his own big band, featuring a big sound, swinging arrangements and such soloists as Washington. Hampton’s newly recorded big-band version of Flyin ’Home became a huge success. The band specialized in boogie-woogie, jump and later bop, and by the early 1950s it had become as much a rhythm and blues as a jazz attraction. But it nevertheless remained the medium for the introduction of many jazz talents.
1940年漢普頓離開(kāi)古德曼,組建了自己的大樂(lè)隊(duì)。該樂(lè)隊(duì)演奏嘹亮,節(jié)奏強(qiáng)勁,并收羅了如華盛頓這樣的獨(dú)奏演員。漢普頓重新錄制的大樂(lè)隊(duì)版的Hyin’Home取得了巨大的成功。大樂(lè)隊(duì)撞長(zhǎng)演奏布基伍基樂(lè)曲、強(qiáng)節(jié)奏爵士樂(lè)和博普爵士樂(lè)。到20世紀(jì)50年代早期,它以爵士樂(lè)和節(jié)奏布魯斯聞名。但它一直是許多爵士樂(lè)天才的搖籃。
Through all of it, Hampton once said, he had just one goal, “I want to be remembered for spreading happiness and goodwill.” He did just that.
在經(jīng)歷了這一切后,漢普頓曾經(jīng)說(shuō),他只有一個(gè)目標(biāo):“我想讓世人記住我是在傳播幸福和友善。”他確實(shí)做到了。