I went to a library yesteday.还有These stamps are form America是什么意思?加上Have you got any stamps from China?和It,s a very important festival.还有Can I write to her?_百度作业帮
I went to a library yesteday.还有These stamps are form America是什么意思?加上Have you got any stamps from China?和It,s a very important festival.还有Can I write to her?
分别是：昨天我去了一个图书馆.这些邮票来自美国.你有来自中国的邮票吗?这是一个很重大的节日.我可以给她写信吗?
I went to a library yesterday
我昨天去图书馆These stamps are from America
这些邮票是从美国来的Have you got any stamps from China?你有没有从中国来的邮票it's a very important festival
这是一个非常重要的节日Can I write to her?我能给她写信吗？
我昨天去了图书馆这些邮票来自美国你有中国的邮票吗？这是个很重要的节日我能写信给她吗？
我昨天去图书馆了.
这些是美国的邮票.
你有中国的邮票吗?
这是一个很重要的节日.
我能给她写信吗?
1昨天我去了一家图书馆2这些邮票来自美国3你有来自中国的有票吗4它是一个非常重要的节日5我能给她写信吗
I went to a library yesterday
我昨天去图书馆These stamps are from America
这些邮票是从美国来的(上面的from写成了form、form是种类等意思)Have you got any stamps from China?你有没有从中国来的邮票it's a very important festival我有晚睡强迫症，你有么？
参考译文1：I have obsessive-compulsive disorder sleep at night, you have it?参考译文2：I went to bed late OCD, you have it?参考译文3：I went to bed late OCD, you have it?参考译文4：I am a compulsive sleep at night, do you have?语义参照：So easy to miss the trail & 这样就很容易错过径ShadowAlpha & 正在翻译，请等待...今天的报纸上没有什么特别的事情 & There is nothing special in today's newspaperan englisgman with a beard stole a paining in Paris on Friday & 胡子englisgman偷上周五在巴黎paining古往今来，诚实一直很重要，因为世界任何一个国家都需要诚信，都需要有诚信的公民。诚信体现着一个人的本质，人与人之间的交往，诚信是不可缺少的。对家人，朋友，老师，我们要有一颗诚实的心，不去欺骗任何人，把诚信放在第一位，这样换回来的是别人对自己的信任。不论是年少的孩子还是年老的老人，都需要有一颗诚实的心，用诚实的心去面对每一天，生活会很精彩。 & Throughout the ages, has been very important to be honest, because the world, a country needs honesty, integrity are required of citizens. Integrity embodies the essence of a person, the interaction between people, honesty is indispensable. Of family, friends, teachers, we have a honest heart, not t再次附上发票。 & Re-attach the invoice.很高兴可以结识你 & Am pleased to be able to get to know you刘记扒肘子 & Mrs kee grill elbowsMinutes Per Shift & 每班分钟是谁和我共患难，又有谁替我想想！ &
Who is and who is thin and I think for me!你有多少铅笔 & How much your pencil9.1 2级PRIMAVERA（P6）或Microsoft Project中的进度分析 & null在A公司贵阳地区实习 & In a company in Guiyang, practiceYou don’t try to control me &
你不设法控制我My aunt keeps a lot of cows & 我姑姑不断大量的牛micro-sculpting revitalizing essence water &
微型雕刻振兴本质水你已经问过了 & You've asked the你在干啥？最近忙吗？ & What you are doing? Recently busy?让自己更坚强 &
Yourself fortA LONG THE RIVER ROAD MEI HE KOU CITY & 长市河路尾沙河口向蜗牛致敬 &
Paying tribute to the snail我认为取得好的成绩真的很困难 & I am of the view that good grades is really very difficultund ger nicht teuer & GER和不贵联合国将其定义为“不以利益、金钱、扬名为目的，而是为了近邻乃至世界进行贡献活动者”。其核心是为他人服务。 & The United Nations will define it as "does not aim at interest, money, fame, but for the neighbor and the world for contribution activities". The core of which is to serve other people.哄我都不会么？ & I will not be pacified?blonacy &
blonacyyou use this app in well-lit & ?PA; PB? is considered as a & 这个男孩不愿意打扫房间 & This boy do not want to clean the room曼陀罗花开 &
Graceful Tuo Luo flower bloomsYou a dead pig & 你一个死猪thereno phone number & 没有电话号码经常洗手 & Wash hands frequently可以分别合并结果。 & The results can be combined, respectively.中国国际经济贸易仲裁委员会上海分会 & China international economic and Trade Arbitration Committee Shanghai Branchthus your friends will think you are so recognition to them. & 因此你的朋友会认为你是这么识别它们。Too late has no future & 太晚了没有未来わたしはもともと悪人ですから & 我来自是小人主卫湿区 & Wet areas the main Guardianregard school life to be, & 认为，学校生活take some drink with me &
带些饮料那时候我就知道最坏的局面就是如此 我们回不到那种最美好的关系了 是吧 &
At that time I will know that the worst-case scenario is the most beautiful of the kind we are impossible to go back to the relationship isn't it?Do Jenny have any stamps? & 珍妮做有任何邮票呢?我想我已经准备好接受我的幸福了 &
正在翻译，请等待... 一个草案是一个____ &
A draft is a ____抗电磁干扰 & resistance to electromagnetic interferencenumerous times each day,you come to a fork in the road and must make a choice. & 每天无数次，你来到一个岔路口，必须做出选择。It's eazy to have a healthy lifestyle,and it's important to eat a balanced diet. & 有健康的生活方式，和重要饮食均衡的易达。hoffman estates & 霍夫曼庄园Did you ever get any of my messages about black and gray hair bands & 你熬任何有关黑色和灰色的头发带我消息重庆的机场之一，国际空港江北机场坐落于此，国道210线与319线在此交汇，渝怀铁路横贯全区，并建有重庆北站。给予两江春城一个良好的经济社会条件。 & 正在翻译，请等待...康康擅长踢足球 &
recreation and leisure and is good at playing football那么你几号出发 & So, what do you startKnow what you think & 知道你的想法缘由天定，份在人为！希望我的爱情得到永恒 & Why day, man! Hopes my love eternal"Grab your tit." & “抢你针锋相对。」我在夏天参加了一个英语夏令营 &
I attended a summer English summer campnature, it is difficult to formulate relationship between & 自然，很难制定之间的关系will be 23 on 27 nov & 正在翻译，请等待...one more &
多了一个drive wheel &
驱动轮l;m my wolf & l ； m 我狼我浪花般粉碎的心 &
I crushed the hearts of spray-like去参加运动会 & Go to games最近查询： & Tom operated a shop & Fall in love & instiute & 你饶了我几分钟 & 运行和慢跑是更为流行黑色非洲妇女 （11%），比全国平均水平 (2%)。 & We study hard, live happy and interesting. I love our school &
您的位置在爱尔康中国的长期和条件确认 & 你不睡觉吗？ &
At noon, my mother made a table of sumptuous food, the moon cake on the table, waiting for their children to go home happy, to enjoy together. Already a quarter past one, and they have not come back. Keep the phone next to my father anxiously waiting for their phone. Mom turns to look outside, think & In, Hui County & Want to enhance the standard of English composition, should increase the amount of extracurricular reading in life, take commonly used words and phrases and sentences down, and read back, at the time of writing application. &
I went to give you a cup of coffee & The little boy can use network & When I was a kid, I do not often eat tomatoesI have and others went to bed.You how Chinese children like?_百度作业帮
I have and others went to bed.You how Chinese children like?
句子不对应该这样：Others and i have went to bed（其它人和我都已经上床睡觉了）Do you know the Chinese children like（你知道中国孩子的喜好吗?）当前位置： &
求翻译：No one should be sad for him and then I went to,Knowing you are poison, but can't help kiss on your lips是什么意思？
No one should be sad for him and then I went to,Knowing you are poison, but can't help kiss on your lips
问题补充：
没有人应该为他难过，然后我去了，知道你是毒药，但不能帮助你的嘴唇上吻
但不应看他可怜,然后我去了,因为他们知道你是毒药,但不能帮助接吻在你嘴边
没人应该是哀伤的为他我然后去对，认识您是毒物，但不可帮助亲吻在您的嘴唇
没有人应为他伤心，然后我去，知道您是毒药，但不能帮上你的唇吻
没人为他应该是悲哀的，然后我去，认识你是毒物，但是在你的嘴唇上对吻爱莫能助
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请输入您需要翻译的文本！I Went To See Wayne Shorter In North Carolina And All You Got Was This Post : A Blog Supreme : NPR
I Went To See Wayne Shorter In North Carolina And All You Got Was This Post
Wayne Shorter.
Henry Leutwyler/Courtesy of the artist
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Henry Leutwyler/Courtesy of the artist
perform has been on my personal bucket list for some time. And with all due respect, he's physiologically closer to kicking said bucket than I am. So when the Wayne Shorter Quartet recently went on a four-night North American tour, I put it down on my calendar to attend a show.
The band played in New York, but that was midweek, and it looked like all the Jazz Famous regulars would be there, and I could do without that hassle. Instead, I set my sights on Durham, N.C., where the band was playing at Duke University last Friday, Feb. 11.
Durham is a city of some 220,000 or so, but it over-represents itself in jazz. (The surrounding region, including Raleigh, Cary and Chapel Hill, is some 1.7 million, but I didn't end up leaving Durham in my 36-odd hours there.) Universities have something to do with this. Duke is home to , a research archive, jazz scholars, a music department and the type of concert presenter who would book Wayne Shorter. Plus, North Carolina Central University, an HBCU, has a strong performance program in jazz. There isn't anything in the way of a full-time jazz club in town, but there's a community of fans and musicians in and around the city.
So I made plans to arrive a day early and explore that community a bit. Here, in a tour diary format, are some of the stories I found in my time down there. My thanks to the good people of Durham for having me — I hope to be back. Ready:
Thursday, 4:55 p.m. Even around rush hour, downtown Durham isn't a particularly busy place. Around the time people ought to be getting out of work en masse, Main Street is eerily silent, at least by the standards of this big city dweller. I post up at a coffee shop to pass some time. I can get a cup of joe and an early dinner for under $5. I love the South.
7:00 p.m. Across the railroad tracks and down the road from downtown,
was being interviewed (by Jazz Loft Project coordinator Sam Stephenson) at the , an old church converted to an African American arts center. Marsalis lives in Durham these days, one of the many idiosyncratic things about him. Why would a top tier jazz artist want to live outside New York or any another sizable scene, right?
He may have strong opinions, but Branford is no dummy. There's a sizable airport in town, and at least one good college jazz program (NCCU) where he was once asked to be artist-in-residence. That's really all a prominent jazzman needs for touring and teaching purposes. New York is a cold place, with a high cost of living and a highly competitive environment constantly filling up with young aspiring players and their fashions. The South is warmer, cheaper, more relaxed. And after years in the media spotlight — remember, he used to lead the Tonight Show band — one might want a bit of anonymity too. There was clearly experience and reason behind his words, frank as they were.
Branford Marsalis (left), in conversation with Sam Stephenson, at the Hayti Heritage Center.
Patrick Jarenwattananon/NPR
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If there was a theme to his conversation, it was the importance of heart over head. Modern jazz was generally too "mathy," he kept saying in some variant, too dependent on complicated chord changes and book learning. There wasn't that sense of innate musicality from having grown up on church hymns, or learning in the home. There was an overemphasis on dense harmonies and unbalanced time signatures and individual heroism, not enough attention to melody or deeply-understood swing or group interaction. You got the sense this was part of his disaffection for New York: He was seeking a different sort of jazz community, or perhaps to simply withdraw from it altogether.
Memorably, he said that as musicians, "we need to get better." If jazz had a problem, it wasn't just lack of exposure, or smooth jazz ("If Kenny G quits, people won't suddenly buy Coltrane albums"), or dying arts education. Musicians just weren't capturing audiences they way they once did, and it's their fault for not communicating their passion.
Why was he so opinionated?, somebody asked him. Why so critical of others? He explained that his speaking out doesn't take gigs off the table for other musicians — he's happy to let them do what they want. But he's not going to stop having strong opinions — show me a great figure in history who didn't have strong opinions, he challenged — and he has an assured nonchalance toward his critics. Audience members kept asking him about the future of jazz, and he kept punting. Why should he, or any musician know that? Indeed, he only speaks on what he knows — not what he can't know.
10:30 p.m. In 2009, Duke Performances invited the phenomenal drummer Brian Blade to the Hayti for a special project. His father, Brady Blade Sr., is a singing pastor in Shreveport, La., where he hosted a gospel show on television for many years called The Hallelujah Train. So Blade wrangled his father, his brother (also a drummer) and a few of his close musical colleagues — plus busloads of parishioners from the Blades' Shreveport church — to recreate the program in concert.
A display for Brian Blade's solo performance at The Pinhook.
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While in Durham, Brian Blade ended up falling in love with a comfy bar and music venue in town called
— so much so that he vowed to play a gig there the next time he was in town. He got his chance last Thursday when, between dates with the Wayne Shorter quartet, he played a solo show. When I walked in, it was just Blade, an electric guitar and some 40-odd moderately interested observers.
He was playing music from Mama Rosa, the singer-songwriter project he released a recording of in 2009. He's a thin reed of a man, and has a bit of a thin, reedy voice. But his are intensely personal songs, and here he played without even the backing band that normally accompanies this project.
So how was it? I don' I only got there for the last half-a-song. I know, I set you up for nothing. But I still ended up seeing music that night ...
11:15 p.m. A few blocks away, at a bar called Whiskey (guess what they specialize in) (local craft beer, too) (I love the South), the Brian Horton trio holds down Thursday nights. Horton is a saxophonist, an NCCU graduate who returned to teach at his alma mater, and he led a group of young recent graduates.
Now, Whiskey is not a listening venue — apart from a small handful of patrons, the crowd was largely oblivious to the music. The guest on a beat-up upright piano was next to inaudible over the din, even with amplification. But t the young drummer and bassist kept solid, chattery but unobtrusive time, and Horton wove his way in and out of it, with lots of tactful space. Among other tunes, they played a long riff on the first movement of A Love Supreme, and an Ornette Coleman blues ("Giggin'," I think) which opened up and turned flexible in the solos.
But here's another part of what makes it difficult to sustain a jazz scene in a place like Durham. The young bassist Jack Hill studied at nearby UNC-Chapel Hill before transferring to the conservatory at Oberlin College. He told me after a set that he was days away from moving to New York.
Friday, 10:45 a.m. Aaron Greenwald is the 30-something director o, the presenter which was bringing Wayne Shorter to town. Among their bookings this season in jazz: the Vijay Iyer Trio, Guillermo Klein and Los Guachos, SFJazz Collective playing Horace Silver, Jeff "Tain" Watts, Allen Toussaint with Nicholas Payton and the Joe Krown trio, The Bad Plus playing Stravinsky's The Rite of Spring. The schedule mixes this with classical, "new classical," rock, folk, dance, theater, etc. — all with the same aesthetic of one step in the past, one step in the future. I wanted to meet this guy.
Over coffee and pastries, we chatted about the ins and outs of working in a setting like Durham and Duke University: town-gown relations, the size of the market, the financial support he receives. He checked his B he had still to coordinate the pickup of the next day's performer from the airport before the show, and then somehow get tonight's bassist and his instrument to the venue. It was clear that Greenwald's was a very hands- he wasn't the type of executive who spends his days in conferences and meetings. He was judge, jury and executioner, and then some.
He was frank about certain performances he felt were trainwrecks, or ones where the band didn't embrace the concept or setting properly, or ones which failed to sell and died on the vine. His program is known for high-concept pairings, like Brian Blade's aforementioned Hallelujah engagement, or the upcoming . But he's taken his lumps trying to force that issue too, and we talked about letting the artist simply be when he or she doesn't "get" the concept of having A Concept. We also talked about basketball.
When Greenwald split, he was off to pick up classical pianist Jeremy Denk. On Saturday night, Denk was presenting a program of Bach and Ligeti. Early modern and ultra- it seemed about right.
2:15 a.m. I am walking around outside without a coat for the first time in months. I love the South.
2:30 p.m. The Duke University library system has . This is less common
the idea of having a professionally curated, restored and catalogued cache of jazz items is a bit complicated to execute. There aren't more than a handful of such places throughout the country.
Jeremy Smith, a product of the Duke graduate program in music, heads up the small but growing archive. He told me the collection focuses specifically on three areas: the history of jazz at Duke, the experience of women in jazz, and artists in and from the region (and the southeast U.S. at large).
At their base in Smith Warehouse — an old tobacco building, like many in town — he showed me some of the collections being processed into storage. The wife of late pianist John Hicks (b. Atlanta) gave boxes of tapes and sheet
the documentarian of guitarist Tal Farlow (b. Greensboro, N.C.) also gave over his holdings. There were also boxes labeled "Frank Foster" and "Jeffrey" — i.e. Paul Jeffrey, Thelonious Monk's last saxophonist and Duke professor emeritus. It's almost thankless work, combing through miles of papers and weeks of personal recordings. But for that one researcher wandering in who finds what he or she needs, it must be invaluable.
Smith Warehouse, home of the office of the Duke University jazz archive.
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3:20 p.m. Across the street and up the hill from Smith Warehouse sits a large white house, with two separate structures connected by a second-floor walkway. That's the home of Duke's Center for Documentary Studies, which occasionally produces NPR
(and future employees) and, moreover, houses the Jazz Loft Project. But what caught my eye when I first walked in was a photo exhibit by Lourdes Delgado called Jazz in New York: A Community of Visions. ()
Delgado took portraits of hundreds of New York-based jazz artists — young and old, obscure and legendary — in their houses and apartments, and the results are rather stunning. For one, we don't normally think of jazz musicians as having lives outside smoky jazz clubs o Delgado's exhibit shatters that image. Musicians are people too, with their own famil scattered toys or stuffed animals or even children dot the backgrounds of many portraits.
But musicians are still musicians, and they have to find places for their massive record collections or instruments. One drummer, Sylvia Cuenca, put her kit in the space under a loft bed. Drummer Kenny Washington, known record collecting freak, was up against walls entirely filled with CDs and LPs. Home studios with stacks of keyboards and other creative arrangements proliferate. So did entirely spartan bedrooms, with just a mat and a few books and a horn.
The musicians were invited to situate themselves in ways that showed off their personality, e.g. subtle clues in dress or setting. (A good-natured LOL at Christian McBride, attired in a Philadelphia 76ers jersey in front of James Brown posters.) And they were selected in remarkably good taste: Many of the young phenoms of today were photographed in, say, 2004. How did she get such access to these musicians? It might have to do with the fact that she's married to drummer Jeff Ballard.
3:40 p.m. Dan Partridge is a research associate at the , based at the Center for Documentary Studies. He took me on a short tour of the entire building, which houses other exhibits, plus various darkrooms, large-format printers, powerful multimedia computers and the like. The Jazz Loft Project's over 1,700 reels of tape, plus interviews done since, have been digitized, and live in one massive file cabinet of CD-Rs in a basement office.
touring, the
out, the project continues. But I came to do some listening. So I headed over to the Nasher Museum of Art on campus to check out the photo exhibit and sample some of the audio clips.
Display for The Jazz Loft Project at Nasher Museum of Art in Durham, N.C.
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4:15 p.m. At the Nasher Museum, I take a minute to browse the photos I haven't seen yet. The audio excerpts from W. Eugene Smith's tapes are what I have in mind, though. Some 40 clips of 2-5 minutes have been loaded up into an iPad, and you can cue them up on demand. Some of them are random television broadcasts he left the tape on for — World Series, or news broadcasts, or the like — but there are plenty of jam sessions too. Rahsaan Roland K so is Chick Corea, w or Lee Konitz sounding like the Lee K or Paul Bley, Zoot Sims, Thelonious Monk. It's of record quality neither in fidelity nor playing — they're getting loose and working ideas out. It's not trying to be great, I gather, and that's the treat.
5:45 p.m. I find myself off campus and in town again, killing time in Brightleaf Square. It's a small little hub of shops and restaurants, one of them being the record store called Offbeat Music. Naturally, that sort of thing is like moths to a flame for me. I consider picking up a Lucky Thompson LP and some early McCoy Tyner, but I find this to be the most amusing part of the shop:
Offbeat Music, Durham, N.C.
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8:20 p.m. What I'm about to see in Page Auditorium at Duke is the whole reason for this trip: the Wayne Shorter Quartet. It's not the most amazing space in the world: an old, somewhat boomy church converted to look something like a high school auditorium. But it seems mostly full and buzzing with excitement. A not-negligible amount of students are on hand too.
I'm about to give you some impressions. For more of my impressions, visit the Duke Performances blog, The Thread, to see
I had with fellow attendees. Yes, I compared Brian Blade to a Viagra commercial.
8:24 p.m. Here's a microcosm of the evening. When the band enters, they cast about for a groove, or a pattern. It's at least a minute and change before Wayne Shorter comes in on tenor sax. (He switches almost entirely to soprano halfway through the show.) There's a unique logic where Wayne doesn't appear to command the unfolding of tunes — it's very much a consensus enterprise. And when Wayne blows, it's often a note or two at a time, or a short burst. There aren't many virtuosic runs, even fewer over multiple chord changes.
But the band, I would find out, isn't the same without him. For one, for another, he's the traffic cop on stage. I don't believe he said a single word to the audience the entire night, and barely any to his band. His melodies are moodsetters and signposts rather than intricate scores to follow, it seems — very little of the harmonic complexity of Shorter's early tunes. But he cues imperceptibly when he wants the group to shift direction, to end a tune or to start a new one. And what otherworldy moods he sets.
Around 8:52 p.m. Nearly half an hour into the show, it's clear that this band isn't going to stop collectively improvising until it takes its bows. There ar just grooving groupthink. This is all right, as a loose logic has begun to emerge. Think of it like this:
This stuff works because the musicians are so good. Brian Blade hears fills and off-beat accents that mo then he looks so surprised as he goes for them with a ninja's precision and force. John Patitucci is he can follow anywhere, and what plays on bass always seems right. Danilo Perez seems completely in service to this music, frequently looking down at his sheet music, pounding big-ol' block chords to gird what Wayne and the band are putting down. Wayne is Wayne, seemingly adrift, probably in total control, but you can't quite tell either way.
Wayne Shorter performs at New England Conservatory.
Andrew Hurlburt/Courtesy of the artist
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Andrew Hurlburt/Courtesy of the artist
Around 9:25 p.m. I'm thinking of how I've heard this sort of thing before in other bands — this trust in almost total spontaneity and communication. It's in the JD Allen trio, or Lee Konitz's projects, or The Necks, or in an even less structured sort of way, lots of completely "free" improvisation I've seen. But it doesn't sound at all like this.
9:35 p.m. Applause, standing ovation (deserved, I think), encore. It's "Joy Ryder," a favorite of this group. The electric recording of this is kind of unbearable, unless you're a robot c. 1983. But as an acoustic number, it feels way different, with sharp edges and sparks (thump thump thump SMASH), Wayne on soprano saxophone. It's forceful, and over quickly. We are pleased.
9:42 p.m. We get an even shorter second encore from Wayne Shorter and co., and a curtain call. The crowd had seemed a tad bit polite to me, but I'm told this is pretty good for Duke audiences. A group of young high-school and college age students go up to the stage to congratulate Brian Blade, who isn't coming back out any time soon. Typically, the Brian Blade fan club got some new members tonight.
10:15 p.m. I am not backstage. But my sources tell me that around now, the aforementioned saxophonist Paul Jeffrey is speaking with Wayne. Jeffrey calls Sonny Rollins on his cell phone. Sonny and Wayne speak for some 20 minutes — something about mouthpieces is the pretext. THIS IS WHAT HAPPENS BACKSTAGE AT WAYNE SHORTER CONCERTS, PEOPLE.
10:50 p.m. At a local bar called The Federal — wow, there really are a lot of craft beers from North Carolina — there's a Duke music graduate student hang. Their reviews for Wayne are mixed. (Most reviews for Wayne generally are, I gather.) But one thing we can all agree on is that it's been a pretty engrossing experience throughout. It didn't always click for all of us. But you wanted to pay attention.
A number of composition grad students have been working with The Bad Plus this semester. The trio has been coming down to Durham regularly to rehearse for its Rite of Spring commission, and working with the students on the side.
It's been a bit trying for some. "I thought this band was something different than they are," one confessed to me. Others pointed out the band's strong opinions about music — if you read , this is no surprise — and how it really does prefer to work with conventional songs, with solid bass lines and melodies. This is something on which they and Branford Marsalis agree on — even if they express it in differing ways.
Saturday, 10:30 a.m. Southwestern eggs and cheese grits for breakfast. I love the South.
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