冷爵士，出现于四十年代末，盛行于五十年代，与"热爵士乐"相对应，也称"凉爵士乐"，它在演奏上偏于轻染将著鸡相承突什松从容，是一种柔美的爵士乐风格。由于集中在美国西海岸，故又称"西海岸爵士"(West Coast Jazz)。

• 中文名称 冷爵士
• 外文名称 West Coast Jazz
• 代表人物 迈尔斯.戴维斯，戴夫.布鲁贝克
• 类型 音乐风格

简时虽教易优诉读身抓试推介

　　冷爵士出现于四十年代末，盛行于五十年代，与"热爵士乐"相对应，也称"凉爵士乐"，它在演奏来自上偏于轻松从容，是一种柔美的爵士乐风格。由于集中在美国西海岸，故又称"西海岸爵士"(West Coast Jazz)。对于冷爵士可以用八个字来概括，即"温馨、典雅、舒缓、放松"。

　　从演奏形式上看，类以毫冷爵士有点类似于古典音乐中的室内乐，乐队一般由3~6名乐手组成，其法维丝找中最典型的是由钢琴、贝司、鼓组成的爵士三重奏。萨克斯、小号、颤音琴等乐器也经常在冷爵士中作为主奏乐器出现。从音响上分辨，冷爵士总是给人一种松弛、悦耳的感觉，每种乐器互不干扰"点到为止"。冷爵士的另一特色体飞知现在鼓的演奏技巧上，鼓手一般都用钢丝制成的鼓之表马向攻镇序算刷进行演奏，对音色的二课助鲜存搞控制极为细腻。因此，成千上万的酒吧、咖啡厅里至今仍然以冷爵士作为背景音乐洗尽尘世的喧嚣，为人们提供着清新自然的"柔美之音"。

代表人物

　　迈尔斯.戴维斯(Miles Davis，1926~1991，作曲家，擅长乐器:小号)

　　戴夫.布鲁360百科贝克(Dave Brubeck，1920~2012，作曲家，擅长乐器:钢琴)

　　切特.贝克(Chet Baker，1929~坚波1988，擅长乐器:小号)

　　盖瑞.穆里根(Gerry Mulligan，1927~1996，作曲家，编曲，擅长乐器:上低音萨克斯)

　　比尔.伊文斯(Bill Evans，1929~1980，作曲家，编曲，擅长乐器:钢琴)

　　格鲁夫音乐与音乐家中的词条:

　　Cool jazz火元必械袁却盾.

　　From the late 1940s, a jazz style derived largely from Bop, but advocat着官ing a moderation of those musical, emotional or ritualistic qualities associated with the parent style. Most of its musicians pursued a soft level of dynamics, for example favouring drum brushes rat黄染这顾顺球几长继her than sticks, and many avoided a pronounced use of vibrato. B且做端集画eyond this the pursuit of moderation was di大想请衡却手verse and inconsistent. Possibilities included the meticulously restrained lyricism of Stan Getz's solo on Early Autumn with Woody Herman's Se将夫笑西cond Herd (1948, Cap.); the elimination of cutting sharply differentiated articul雨开散ation, as heard in the hig任条hly chromati弱盟块场帮曲放查计验日c and rather unmelodic unison themes and improvised lines presented by Lennie Tristano's group (1949); an emphasis on mid-range register and subdued timbres, and a deli步率值运轮续斗船总已cate balance between improvisation and composition, as practised by Mil脚宜三存均皮责办衣办肥es Davis's 'Birth of the Cool' nonet (1949–50); the Baroque- and Classically-influenced chamber jazz of the Modern Jazz Quartet (from 1952), with its concomitant appeal to an audience behaviour associated with the concert hall rather than the nightclub; the heady, transparent and contrapuntal dialogues improvised by Chet Baker and Gerry Mulligan in Mulligan's pianoless quartet (also from 1952). Cool jazz led directly to another substyle of bop, West Coast jazz. The distinction between bop and cool jazz may seem obscure as these styles share many of the same conventions.

　　BIBLIOGRAPHY

　　M.Williams: 'Bebop and After', Jazz: New Perspectives on the History of Jazz, ed. N. Hentoff and A.J. McCarthy (New York, 1959/R), 287–301

　　A.Hodeir: Toward Jazz (New York, 1962/R)

　　H.Hellhund: Cool Jazz: Grundzüge seiner Entstehung und Entwicklung (Mainz, 1985)

　　BARRY KERNFELD