曾赢得格莱美奖的爵士乐小号手罗伊·哈格罗夫去世，享年49岁 [美国媒体]

Roy Hargrove, Grammy-Winning Jazz Trumpeter, Dies At 49

曾赢得格莱美奖的爵士乐小号手罗伊·哈格罗夫去世，享年49岁



November 3, 201811:36 AM ET

东部时间2018年十一月3日，上午11点36分

NATE CHINEN

记者：内特·钦棱

Trumpeter Roy Hargrove performs at the Brooklyn Masonic Temple on May 1, 2013. Hargrove died at age 49 Friday in New York.

2013年五月1日小号手罗伊·哈格罗夫在布鲁克林共济会教堂表演。哈德格罗夫本周五于纽约过世，享年49岁。

Matthew Eisman/Getty Images

摄影：马修·艾斯曼 供图：盖提图片



Hargrove is also known for his vital presence in the turn-of-the-century movement known as neo-soul. He made crucial contributions to Voodoo, the epochal album by D'Angelo, released in 2000. He appeared the same year on Erykah Badu's Mama's Gun and Common's Like Water for Chocolate, and later formed his own hybrid project, The RH Factor, with the aim of furthering the dialogue between modern jazz, hip-hop and R&B. But Hargrove always maintained his foothold in the mainstream jazz tradition; he saw his forays into other forms of black music as an extension of, rather than any departure from, that tradition.

哈格罗夫也因在本世纪初的“新灵乐运动”中所起的关键作用而广为人知。他对迪·安戈洛在2000年发行的那张被命名为“巫术”的具有划时代意义的唱片作出了极其重要的贡献。他还同时出现在埃里卡·巴杜的《妈妈的枪》以及卡门的《献给巧克力的水》中。稍后为了促进现代爵士乐、嘻哈以及节奏蓝调之间的交流，他还推出了一个属于他自己的工作计划。这个杂糅了多种风格的工作计划被命名为《节奏蓝调与嘻哈因素》。但是哈格罗夫还是将他的事业放在传统爵士乐的主流中。他视自己对其它形式的黑人音乐的尝试为传统爵士乐的延续，而非割裂。

He first emerged in the late 1980s, at a cultural moment when his precocity and poise amounted to a form of currency in jazz. His first album, Diamond in the Rough, was released on the Novus imprint of RCA in 1990. Soon afterward, he went on tour with a package called Jazz Futures, featuring a peer group of other young torchbearers, including alto saxophonist Antonio Hart and bassist Christian McBride.

他于二十世纪80年代末初绽头角。在那样一个充满文化气息的时刻，他的早熟和稳重意味着他能在爵士乐中畅行无阻。1990年发行的《未加工的钻石》是他的首张专辑。这张专辑上还印有美国广播唱片公司的标志。此后不久他便带领同辈中其他的年轻爵士乐领袖，开始了一场被命名为“爵士乐未来”的巡回演出，这其中就包括中音萨克斯演奏者安东尼奥·哈特，以及低音贝斯演奏者克里斯蒂安·麦克布莱德。



The first jazz musician who made a substantial impression on him was David "Fathead" Newman, a tenor saxophonist best known for his long tenure with Ray Charles; he was a Dallas-area native, and Hargrove heard him at a junior high assembly. Then in 1987, Wynton Marsalis heard a teenaged Hargrove in a clinic at Booker T. Washington and was so impressed that he invited the young trumpeter to sit in on his gig that week in Fort Worth.

首个对他带来重大影响的爵士乐音乐家是“傻瓜”戴维·纽曼。这位高音萨克斯演奏者因其长期与雷·查尔斯合作的经历而闻名于世。他是达拉斯本地人，而哈格罗夫是在一次初中集会上听说他的。到了1987年，林顿·马萨里斯在布克·T·华盛顿的一间诊所里听到了有关少年哈格罗夫的事迹，因为印象实在是太深刻了，便决定邀请这位年轻的小号手去沃斯堡参加他即将举行的现场演奏会。

Hargrove attended the Berklee College of Music on scholarship for 18 months, before transferring to the New School in New York. In jazz's close-knit musician community, the meteoric force of his arrival was comparable only to that of Marsalis' about a decade earlier.

哈格罗夫凭着奖学金在贝克里音乐学院学习了18个月，然后转学到纽约的新学院大学。在组织严密的爵士乐音乐家社会团体里，他的到来所展现出的那种迅速成功的力量，只有10年之前的林顿·马萨里斯可与之相较。



Along with his quintet — a sterling hard-bop unit that released an album called Earfood in 2008, and wasrecorded at The Village Vanguard in 2011 by WBGO and NPR Music — Hargrove intermittently led a big band. He often stood in for one of his many trumpet totems in the Dizzy Gillespie All-Star Big Band. And he continued to sit in and pop up as a special guest; he'sprominently featured on an album released last year by singer and pianist Johnny O'Neal.

哈格罗夫除了有一个五重奏乐团（作为一个优秀的硬波普爵士乐乐团，该乐团曾于2008年发行了一张名为“耳朵粮食”的专辑，WBGO的“乡村先锋”和NPR音乐栏目曾在2011年介绍过这张专辑），还断断续续地领导过一个大乐队。在一个名为“昏昏然的仆人”的全明星大乐团里，他经常和他的那些具有标志意义的吹小号照片混在一起。他还一直作为特邀嘉宾坐在那里，然后又突然跳出来。歌手兼钢琴家约翰尼·奥尼尔去年曾发行了一张专辑，他还在其中担任特别重要的主演之一。



Hargrove had been scheduled to perform on Saturday, Nov. 3, in a jazz vespers service at Bethany Baptist Church in Newark, N.J., as part of the TD James Moody Jazz Festival.

作为詹姆斯·穆迪爵士乐音乐节的一部分，哈格罗夫原本计划在十一月3日周六的时候为新泽西州纽瓦克的贝瑟尼浸礼会教堂的爵士乐晚祷演奏的。