That adventure was to last a lifetime. Over the decades he won 23 Grammys and 67 nominations for his reinvigoration of jazz.He played to packed houses the world over, touring with barely a break.Yet he found it odd to be celebrated as a jazz-fusion pioneer, as if you could say where one sort of jazz ended and another began.He treated music more like a swimming pool, where he just jumped in and had fun.Fusion, in any case, went on all the time. As soon as you played a piece with anyone, you exchanged ideas.As a young player in New York in the 1960s he had learned from everyone he gigged for:from Stan Getz, who tamed his wildest side and taught him melodic simplicity,to Mongo Santamaria, who shaped his African-Cuban instincts with the beat of a conga drum.(He felt so passionately Spanish, or Cuban, by the end of his gigs in Harlem that it was odd to think his ancestry was Italian.)Even the “older guys”, Mozart, Chopin, Scriabin, were still teaching him, his kindred spirits.He once wove Mozart’s Sonata in F major into Gershwin’s “The Man I Love”, and was amazed at how well they went together.In music, jazz especially, one exploration naturally led to another.He had only to think how he composed, hearing a tune in his head, playing off it, adding on, doodling with crayons to jog his creativity along.Sometimes he wrote phrases down, or composed at a keyboard so they were stored.
这样的冒险将持续一生。在过去的几十年里，他获得了23项格莱美奖和67项格莱美奖提名，为重振爵士乐做出巨大贡献。他在世界各地演出，场场爆满，巡回演出几乎是连轴转。然而，他觉得自己被誉为“爵士融合的先驱”很奇怪，就好像人们谈论一种爵士乐的没落和另一种爵士乐的兴起。他对待音乐更像一个游泳池，他只是跳进池里，游得尽兴罢了。无论如何，碰撞融合一直在进行。只要与人合奏，大家就会交流心得。上世纪60年代，奇克还是纽约的一名年轻演奏者，他向所有的合作伙伴虚心求教：斯坦・盖茨(Stan Getz)驯服了他最野性的一面，教他简单的旋律；蒙戈・桑塔玛利亚(Mongo Santamaria)用康加鼓的节拍塑造了他非洲古巴人的本能。(在哈莱姆区的演出结束时，他产生一种自己是热情的西班牙人或古巴人的错觉，甚至觉得自家祖先是意大利人的理念十分荒诞。)甚至那些“老家伙”，莫扎特、肖邦、斯克里亚宾，也在潜移默化地影响着他，找到志同道合的人。他曾把莫扎特的F大调奏鸣曲编入格什温的《我爱的人》中，并为二者的完美结合而感到惊讶。在音乐领域，尤其是爵士乐版块，每一次探索自然会引领出另一番天地。他只需要思考如何作曲，脑海里谱出一段曲子，演奏出来，不断修改，用蜡笔涂鸦来激发他的创造力。有时，他会把乐谱写下来，或者在键盘上作曲，这样就可以把曲子记录下来。
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