Okay, I have no idea what we're going to play. I won't be able to tell you what it is until it happens. I didn't realize there was going to be a little music before. So I think I'm going to start with what I just heard.
好吧 我也不知道我们马上会演奏什么 在演奏开始前我也没法告诉你们今天的曲目 我也不知道演奏前会有段音乐 那就用我刚刚听到的音乐开场吧
(Music)
(音乐)
(Applause)
(掌声)
Okay, so first of all, let's welcome Mr. Jamire Williams on the drums, (Applause) Burniss Travis on the bass, (Applause) and Mr. Christian Sands on the piano.
好的 首先 让我们欢迎鼓手杰迈尔・威廉姆斯先生 (掌声) 贝斯手贝尔尼斯・特拉维斯 (掌声) 还有钢琴手克里斯蒂安・桑滋
(Applause)
(掌声)
So the bandstand, as we call it, this is an incredible space. It is really a sacred space. And one of the things that is really sacred about it is that you have no opportunity to think about the future, or the past. You really are alive right here in this moment. There are so many decisions being made when you walk on the bandstand. We had no idea what key we were going to play in. In the middle, we sort of made our way into a song called "Titi Boom." But that could have happened -- maybe, maybe not. Everyone's listening. We're responding. You have no time for projected ideas.
我们称之为的演奏台 是个不可思议的地方 是个神圣的地方 之所以神圣是因为 你无法思考未来 或者过去 你真切地活在当下 当你走上演奏台 你就要作很多决定 我们不知道既定曲目 在演奏中我们揉合进了 一首叫“Titi Boom”的曲子 但这个也是说不准的事 每个人都在听 都在回应 没有时间留给预期的想法
So the idea of a mistake: From the perspective of a jazz musician, it's easier to talk about someone else's mistake. So the way I perceive a mistake when I'm on the bandstand -- first of all, we don't really see it as a mistake. The only mistake lies in that I'm not able to perceive what it is that someone else did. Every "mistake" is an opportunity in jazz. So it's hard to even describe what a funny note would be.
所谓的失误: 从一个爵士乐手来看 谈论其他人的失误比较容易些 当我站在演奏台上 我对错误的理解是- 首先 我们并不把它看成一个失误 除非 我不能指出 别人的失误 爵士乐里每一个“失误”都是一次机会 所以要找出一个弹错的音 并不容易
So for example, if I played a color, like we were playing on a palette, that sounded like this ... (Music) So if Christian played a note -- like play an F. (Music) See, these are all right inside of the color palette. If you played an E. See, these all lie right inside of this general emotional palette that we were painting. If you played an F# though, (Dissonance) to most people's ears, they would perceive that as a mistake.
比如 如果我现在从低音谈到高音 就像我们刚刚那样 听起来就是... (音乐) 如果克里斯蒂安弹出F调 (音乐) 那么这一段小调听起来还不错 如果是E调 听起来也挺好 和整体的调子协调 但是如果加入升F调 (不和谐音) 对大部分人来说这就是个错误
So I'm going to show you, we're going to play just for a second. And we're going to play on this palette. And at some point, Christian will introduce this note. And we won't react to it. He'll introduce it for a second and then I'll stop, I'll talk for a second. We'll see what happens when we play with this palette.
那么我来演示一下 我们快速弹奏一下 我们会弹这个调子 然后克里斯蒂安就加入这个音 我们不去应和它 他将展示一下 然后我会停下来 说明一下 让我们看看这段调子会是怎样的
(Music)
(音乐)
So someone could conceptually perceive that as a mistake. The only way that I would say it was a mistake is in that we didn't react to it. It was an opportunity that was missed. So it's unpredictable. We'll paint this palette again. He'll play it. I don't know how we'll react to it, but something will change. We'll all accept his ideas, or not.
有人会把这个理解为失误 而我的理解是说它是个失误 只是因为我们没有去回应它 这是个错失的机会 所以演奏是捉摸不定的事 我们会再弹奏这段调子 他弹奏这调子 我也不知道我会怎样去回应 但是肯定会有变化 我们将接受他的想法 但也不一定
(Music)
(音乐)
So you see, he played this note. I ended up creating a melody out of it. The texture changed in the drums this time. It got a little bit more rhythmic, a little bit more intense in response to how I responded to it. So there is no mistake. The only mistake is if I'm not aware, if each individual musician is not aware and accepting enough of his fellow band member to incorporate the idea and we don't allow for creativity.
那么 他弹奏了这段调子 我借此创作了一段旋律 这次鼓手的演奏改变了旋律的感觉 加入了更多节奏 更加紧凑 我们之间相互呼应 这样就没有失误了 除非我没有去回应 其他乐手也没有回应 并没有接受乐队同伴的想法 而抹杀了创新
So jazz, this bandstand is absolutely amazing. It's a very purifying experience. And I know that I speak for all of us when I tell you that we don't take it for granted. We know that to be able to come on the bandstand and play music is a blessing. So how does this all relate to behavioral finance? Well we're jazz musicians, so stereotypically we don't have a great relationship to finance.
所以在爵士乐里 演奏台非常不可思议 这是个很纯粹的体验 我在此代表所有乐队成员说出这个观点 我们很珍视它 我们能同台演奏是一种福气 那么这个跟行为金融学是什么关系呢? 我们是爵士乐手 所以大家都觉得我们跟金融不是一条路上的
(Laughter)
(笑声)
Anyway, I just wanted to sort of point out the way that we handle it. And the other dynamic of it is that we don't micromanage in jazz. You have some people who do. But what that does is it actually limits the artistic possibilities. If I come up and I dictate to the band that I want to play like this and I want the music to go this way, and I just jump right in ... ready, just play some time. One, two, one, two, three, four. (Music) It's kind of chaotic because I'm bullying my ideas. I'm telling them, "You come with me over this way."
不管怎么说 我想说的就是我们看待它的看法 它的动态性就像 我们在爵士乐里不进行微观管理 有些人会这么做 但是这会 限制乐手的艺术潜能 如果我只跟乐队说 我想这么演奏 我想让音乐这么走 然后我就立刻开始 准备好了 就弹奏一会儿 一,二,一二三四 (音乐) 这就有点嘈杂 因为我在滥施我自己的想法 我跟他们讲:“你得跟着我走。”
If I really want the music to go there, the best way for me to do it is to listen. This is a science of listening. It has far more to do with what I can perceive than what it is that I can do. So if I want the music to get to a certain level of intensity, the first step for me is to be patient, to listen to what's going on and pull from something that's going on around me. When you do that, you engage and inspire the other musicians and they give you more, and gradually it builds. Watch. One, two, a one, two, three, four.
如果我真想让他们跟着我走 最好方法就是倾听 这是个倾听的学问 我能感受到的 比我能做的更加重要 如果我想让音乐更紧张 首先我要做的 是耐心 要先倾听 然后再演绎 当你这样做的时候 你会启发其他乐手 当他们积极回应 音乐就浑然天成了 展示一下 一,二,一二三四
(Music)
(音乐)
Totally different experience when I'm pulling ideas. It's much more organic. It's much more nuanced. It's not about bullying my vision or anything like that. It's about being here in the moment, accepting one another and allowing creativity to flow.
当我这样引导想法的话 就是完全不一样的效果 非常有组织的 更多微妙的细节处理 而不是把我的想法强加给别人 我们得在那一刻 接纳别人 并让创造力源源不绝地流动
Thank you.
谢谢
(Applause)
(掌声)