《马汀.史柯西斯系列-蓝调之红，白与蓝》(Martin Scorsese Presents the Blues - Red, White & Blues)[DVDRip]
![《马汀.史柯西斯系列-蓝调之红，白与蓝》(Martin Scorsese Presents the Blues - Red, White & Blues)[DVDRip]](/Uploads/36/364/364716.jpg)
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| 马汀.史柯西斯系列-蓝调之红，白与蓝.[Martin.Scorsese.Presents.the.Blues.-.Red,.White.&.Blues].[DVDRip].avi | 899.74 MB |
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简介:
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影像：656 x 352 1091 kbps 25 fps
声音：MP3 256 kpbs @ 48 KHz
字 幕：无
片 长：126分
内容介绍：
英国与美国隔著一个宽阔的大西洋，从历史来看，不论是血源，政治，文化，彼此影响的程度很高。有趣的是，在美国的蓝调还没有变成流行音乐一景之前，少数英国白人（当时）年轻乐手已经注意到蓝调的魅力，而且把它当成宗教般地传承（部分乐团则将之运用，转换成流行音乐的一部份），套句Eric Clapton的名言，演奏蓝调对他来说，就像 传道 （mission）一样。
美国音乐对英国乐坛的影响并不是立即的。二次战后英国的爵士乐手，刚好赶上了美国五零年代的老爵士复兴（revivalism）运动，演奏的爵士乐，大多以纽奥良风格为主，这种老派的东西，显然落后了当时在美国爵士乐坛已经沸沸扬扬的bebop运动一大截！不过，别忘了英国乐手其实蛮用功的：
1. 他们不放弃任何可以学习新音乐的机会，只要有新唱片到货，或是有人去美国公演，一定会买一张来听听。受访者提到Chess, Riverside这些独立厂牌的厂牌对他们的影响。
2. 部分杰出的乐手常帮来英国巡迴演出的蓝调艺人伴奏。在滚石乐团崭露头角之后，更曾邀请Muddy Waters同台演出。
3. 有些以西印度群岛移民为主要客层的酒吧，是这些乐手常去练功的地方（例如Flamingo），爵士酒吧Ronnie Scott也是他们常去之处。
就在英国乐手的潜心学习，加上勤与美国来的蓝调歌手切磋之后，蓝调渐渐被更年轻的世代所瞭解，欣赏。这部片子以 红，白，蓝 指涉了英美两国表面上的共通性（两国国旗的颜色相同），但骨子里两国的音乐文化轨迹南辕北辙，讽刺的是，一个强调种族融合的大国，却相对忽略了黑人音乐的意义与重要性，但被另一个语言相似，也不特别强调种族融合（英国根本就是个民族国家）的国家的乐手所欣赏， 抄袭 ，从而发扬光大。
这部片子有几段精彩的录音片段：Van Morrison, Tom Jones（别怀疑，就是他啦）的歌声，Jeff Beck的吉他（实在是吉他之神啊），都非常精彩。几部纪录片看下来，这部纪录片在爵士乐的部分著墨最多。还有，Steve Winwood唱Georgia on My Mind，一点也没有输给Ray Charles啊！
Director Mike Figgis (Stormy Monday, Leaving Las Vegas, Time Code) joins musicians such as Van Morrison, Eric Clapton, Jeff Beck, and Tom Jones, performing and talking about the music of the early sixties British invasion that reintroduced the blues sound to America.
During the 1960s, the UK was the location for a vibrant social revolution. London, Liverpool, Birmingham, Manchester and Newcastle all had their own music scenes. Musicians from Belfast and Glasgow moved to London to be part of the club scene there.
The post-war traditional jazz and folk revival movements produced the fertile ground for a new kind of blues music — entirely influenced by the authentic black blues of the USA, and, for the most part, entirely ignored by the good citizens of the US. It was new in the sense that certain key musicians took the blues and molded it in an entirely personal way to fit the new awareness of the UK in the sixties. Importantly, for the most part they continued to pay homage to the originators of the music and to make a huge global audience aware of the likes of Robert Johnson, Muddy Waters, Howlin' Wolf, Freddie King, etc.
Mike Figgis' film examines the circumstances of this vibrant period. Figgis himself participated, albeit in a minor way, in this period of history, playing in a blues band with Bryan Ferry, a band that was the nucleus for the first Roxy Music.
A series of musical interviews with the key players of the blues movement is augmented with
a live session at the famous Abbey Road recording studios. Tom Jones, Jeff Beck, Van Morrison, and Lulu all improvise around some classic blues standards, accompanied by a superb band made up of younger and not-so-younger-musicians. The results are electrifying.
Says Figgis: I'm interested in why there was such excitement about this black music among Europeans. To that end, I've put together a group of these musicians, augmenting the line-up with some younger talent as well. Hopefully the resulting recording session of some blues standards, and the discussions that follow, shine some light on why at a particular moment the blues was reinterpreted abroad and reintroduced in a new form that was universally embraced.
http://www.pbs.org/theblues/aboutfilms/figgis.html
影像：656 x 352 1091 kbps 25 fps
声音：MP3 256 kpbs @ 48 KHz
字 幕：无
片 长：126分
内容介绍：
英国与美国隔著一个宽阔的大西洋，从历史来看，不论是血源，政治，文化，彼此影响的程度很高。有趣的是，在美国的蓝调还没有变成流行音乐一景之前，少数英国白人（当时）年轻乐手已经注意到蓝调的魅力，而且把它当成宗教般地传承（部分乐团则将之运用，转换成流行音乐的一部份），套句Eric Clapton的名言，演奏蓝调对他来说，就像 传道 （mission）一样。
美国音乐对英国乐坛的影响并不是立即的。二次战后英国的爵士乐手，刚好赶上了美国五零年代的老爵士复兴（revivalism）运动，演奏的爵士乐，大多以纽奥良风格为主，这种老派的东西，显然落后了当时在美国爵士乐坛已经沸沸扬扬的bebop运动一大截！不过，别忘了英国乐手其实蛮用功的：
1. 他们不放弃任何可以学习新音乐的机会，只要有新唱片到货，或是有人去美国公演，一定会买一张来听听。受访者提到Chess, Riverside这些独立厂牌的厂牌对他们的影响。
2. 部分杰出的乐手常帮来英国巡迴演出的蓝调艺人伴奏。在滚石乐团崭露头角之后，更曾邀请Muddy Waters同台演出。
3. 有些以西印度群岛移民为主要客层的酒吧，是这些乐手常去练功的地方（例如Flamingo），爵士酒吧Ronnie Scott也是他们常去之处。
就在英国乐手的潜心学习，加上勤与美国来的蓝调歌手切磋之后，蓝调渐渐被更年轻的世代所瞭解，欣赏。这部片子以 红，白，蓝 指涉了英美两国表面上的共通性（两国国旗的颜色相同），但骨子里两国的音乐文化轨迹南辕北辙，讽刺的是，一个强调种族融合的大国，却相对忽略了黑人音乐的意义与重要性，但被另一个语言相似，也不特别强调种族融合（英国根本就是个民族国家）的国家的乐手所欣赏， 抄袭 ，从而发扬光大。
这部片子有几段精彩的录音片段：Van Morrison, Tom Jones（别怀疑，就是他啦）的歌声，Jeff Beck的吉他（实在是吉他之神啊），都非常精彩。几部纪录片看下来，这部纪录片在爵士乐的部分著墨最多。还有，Steve Winwood唱Georgia on My Mind，一点也没有输给Ray Charles啊！
Director Mike Figgis (Stormy Monday, Leaving Las Vegas, Time Code) joins musicians such as Van Morrison, Eric Clapton, Jeff Beck, and Tom Jones, performing and talking about the music of the early sixties British invasion that reintroduced the blues sound to America.
During the 1960s, the UK was the location for a vibrant social revolution. London, Liverpool, Birmingham, Manchester and Newcastle all had their own music scenes. Musicians from Belfast and Glasgow moved to London to be part of the club scene there.
The post-war traditional jazz and folk revival movements produced the fertile ground for a new kind of blues music — entirely influenced by the authentic black blues of the USA, and, for the most part, entirely ignored by the good citizens of the US. It was new in the sense that certain key musicians took the blues and molded it in an entirely personal way to fit the new awareness of the UK in the sixties. Importantly, for the most part they continued to pay homage to the originators of the music and to make a huge global audience aware of the likes of Robert Johnson, Muddy Waters, Howlin' Wolf, Freddie King, etc.
Mike Figgis' film examines the circumstances of this vibrant period. Figgis himself participated, albeit in a minor way, in this period of history, playing in a blues band with Bryan Ferry, a band that was the nucleus for the first Roxy Music.
A series of musical interviews with the key players of the blues movement is augmented with
a live session at the famous Abbey Road recording studios. Tom Jones, Jeff Beck, Van Morrison, and Lulu all improvise around some classic blues standards, accompanied by a superb band made up of younger and not-so-younger-musicians. The results are electrifying.
Says Figgis: I'm interested in why there was such excitement about this black music among Europeans. To that end, I've put together a group of these musicians, augmenting the line-up with some younger talent as well. Hopefully the resulting recording session of some blues standards, and the discussions that follow, shine some light on why at a particular moment the blues was reinterpreted abroad and reintroduced in a new form that was universally embraced.
http://www.pbs.org/theblues/aboutfilms/figgis.html