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原文版
Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO(United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying voice across cultures.
Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite,” Moran tells National Public Radio’s reporter Neal Conan. “What I’m hoping to accomplish is that mu generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost.
“The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization. In music, where does the emotion lie？ Are we, as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts？ Sometimes we lose sight that the music has a wider context,” says Moran, “So I want to continue those dialogue. Those are the things I want to foster.”
分析版
Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate（这些音乐家“聚集在巴黎和新奥尔良”为的是什么？所以这个的to celebrate自然就是不定式作目的状语） the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise（这里的结构是set+一个日期+as + a day to do sth.，意思就是“把某一听设定为一个去做什么事儿的日子”） awareness of jazz music, its significance, and its potential as a unifying voice across cultures（第一段一直在说爵士乐，如果你对爵士乐有兴趣，推荐你去翻一翻村上春树的小册子，叫《爵士群英谱》，据我所知，一共两本）.
Despite（注意，出现了转折，后面对于爵士乐的态度跟前面不一样了） the celebrations, though, in the U.S. the jazz audience continues to shrink（这个词的本意是“收缩”或者“萎缩”，这里指的是那些爵士乐的老听众，所以可以理解为这个群体的人数在不断“减少”） and grow older, and the music has failed to（fail to这个词组特别常见，也挺好，可以记一记。没有必要机械地翻译成“做... ...失败了”，这个太不像中国话，理解为一个否定词就行，具体怎么翻译，看具体的文章而定。补一句，如果你学过《新概念英语》，尤其是第三册，就会发现亚历山大老先生极为爱用这个表达，跟着我学习《新概念》的同学也肯定N多次听我叨念过这个fail to do的用法） connect with（connect with的意思是“与... ...产生联系”，这里的意思当然就是年轻人不怎么喜欢爵士乐了） younger generations.
It’s Jason Moran’s job to help change that. As the Kennedy Center’s（这就是好著名的那个“肯尼迪中心”） artistic adviser for jazz, Moran hopes to widen the audience for（这个表达意思是“拓宽... ...的听众范围”，比如很多女同学都希望widen the audience forTFBOYS。不知道用TFBOYS举例子是不是可以涨粉... ...） jazz, make the music more accessible（make sth. + adj.的意思就是“使得什么怎么样”，这里就是“使得爵士乐更加容易让人接受”。客观地说，爵士乐的曲风的确不是那么大众化，听多了的话会有一种迷迷糊糊的感觉。我算是还挺喜欢爵士乐的，我是不怎么喜欢摇滚乐）, and preserve its history and culture.
“Jazz seems like it’s not really a part of the American appetite（这个词是“口味”的意思，既可以是吃的那个“口味”，也可以兴趣、爱好方面的“品味”）,” Moran tells National Public Radio’s reporter Neal Conan.“What I’m hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and white anymore（什么叫“爵士乐不再是黑色和白色的”？看，后面有一个color，这个话的前提又是在劝年轻人重新喜欢上爵士乐，懂了吧？这里实际上的意思是“爵士乐不再是一种单调的音乐”）. It’s actually color, and it’s actually digital.”
Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost.“The music can’t be presented today the way it was in 1908 or 1958（看来在一点上美国人民和我们的感受是一样的，就是现在的音乐大不如前了。美国人现在没有新的披头士、MJ，我们没有新的周华健、张学友。当然，我们有伟大的TFBOYS！涨粉涨粉涨粉... ...）. It has to continue to move, because the way the world works is not the same（这个表达特别好，可以拿小本本抄下来哈，就是“世界不再按照以前的样子转运了”，也就是世界变了）,” says Moran.
Last year, Moran worked on a project that arranged Fats Waller’s music（Fats Waller是一位爵士乐的高手，中文翻译成“胖子沃勒”，20世纪上半叶的一位爵士乐手，大家可以搜来听听）for a dance party,“Just to kind of（kind of绝对不是“... ...的一种”这个意思哈，你看它在动词的前面，意思是“类似于”）put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization（请注意，这是一个特别复杂的合成词，即使用词根词缀法去拆，其实也无法准确理解这个词的意思。那么怎么办？如果是在考场上，遇到这种情况，你需要做的事情一定不是胡编一个意思出来，因为这会对你自己形成误导，而是结合前文，弄清楚这个词是一个什么倾向性的词就可以了。比如在这里，你觉得就Moran前面说的那些话而言，这是更接近一个好词还是更接近一个坏词？当然，从表面上看，这个词的意思是“语境重构”，仿佛是没有好坏的）. In music, where does the emotion lie（高能预警，下面的这一串话话都特别文艺，快拿出小本本抄一抄。“在音乐的世界里，情感栖身与何处？”）? Are we, as humans, gaining any insight（这个词的意思是“洞见”，讲得更高级一点，就是“领悟”或者“感悟”） on how to talk about ourselves and how something as abstract as a Charlie Parker record（在音乐方面提到record这个词，就是指“唱片”） gets us into a dialogue about our emotions and our thoughts（get sb. into就是“把谁带到什么地儿”，那么在这里，就是指把我们带入了一种“对话”之中。跟谁对话呢？“跟我们自己的情感对话，跟我们自己的思想对话”，快说，是不是特别文艺？）? Sometimes we lose sight（lose sight的字面意思是“失明”，这里肯定不是咯，一听爵士乐就失明还得了。这里的意思是“看不到”，更准确地说就是“忽视”、“意识不到”）that the music has a wider context,” says Moran, “so I want to continue those dialogues. Those are the things I want to foster（如果在考场上，你理解为“我准备接着干”，是一点问题都没有的，但还是最好知道一下foster的意思是“促进”）.”
