By Peter Guralnick, Robert Santelli, Christopher John Farley
A spouse to the groundbreaking PBS documentary sequence, this quantity is a distinct and undying party of the blues, from writers and artists as esteemed and respected because the song that moved them.
Included during this attractive assortment are
* Essays by means of David Halberstam, Hilton Als, Suzan-Lori Parks, Elmore Leonard, Luc Sante, John Edgar Wideman, and so on
* undying archival items by way of writers resembling Stanley sales space, Paul Oliver, and Mack McCormick
* Evocative colour illustrations and infrequent classic images
* Illuminating and in-depth conversations and images of musicians, starting from Robert Johnson and Bessie Smith to John Lee Hooker and Eric Clapton
* Lyrics of mythical blues compositions
* own essays through the sequence administrators Martin Scorsese, Charles Burnett, Richard Pearce, Wim Wenders, Marc Levin, Mike Figgis, and Clint Eastwood
* Excerpts from literary masters James Baldwin, Ralph Ellison, Eudora Welty, Zora Neale Hurston, Langston Hughes, and William Faulkner Tracing the artwork form's course from juke joints, apartment events, and recording studios to musicians equivalent to Elvis Presley, The Rolling Stones, and The Beatles, Martin Scorsese offers The Blues proves, within the phrases of Willie Dixon, "The blues are the roots; every-thing else is the fruits."
Read Online or Download Martin Scorsese Presents The Blues: A Musical Journey PDF
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Additional info for Martin Scorsese Presents The Blues: A Musical Journey
Stravinsky’s Columbia Symphony Orchestra recording of the “Sacrificial Dance” from Le Sacre du printemps is aboard the Voyager spacecraft, launched in 1977 and intended to explore the outer solar system in search of extraterrestrial civilization. ”11 His notoriety extended everywhere, including to the White House, where the Stravinskys dined in “Camelot” with JFK and Jackie. The composer originally declined the invitation, saying he was “touched and honored” but just too busy with concert engagements.
By 1957 he was, for many musicians, an American hero, and works like his highly successful ballet Agon, created with Balanchine and first staged by his New York City Ballet on 1 December of that year, took the dance world by storm. The composer proudly claimed America as his home, and his triumphs in both Los Angeles and New York bespoke the continental expanse of his fame. Yet an unpublished letter discloses that he may not have been all that content with his adopted homeland. ” He informed Onassis, in confidence, that the composer now probably wanted to return to Europe and settle there.
Privately, he muttered about the emptyheaded Hollywood “scene” and the “intolerably boring” parties he attended regularly. Yet attend them he did. A quick glance at Vera Stravinsky’s diary from the period reveals that hardly a day passed without a luncheon, dinner, or some social evening spent with such celebrities as Elizabeth Arden, Charles Boyer, Maurice Chevalier, Joseph Cotten, Ronald Colman, Bing Crosby, Bette Davis, Melvyn Douglas, Joan Fontaine, Greta Garbo, Greer Garson, Benny Goodman, Alfred Hitchcock, John Houseman, Harpo Marx, Mary Pickford, Vincent Price, Basil Rathbone, Ginger Rogers, Frank Sinatra, Gene Tierney, Orson Welles—and the list goes on.