纪录片部落--纪录片《[PBS纪录片]爵士乐Jazz-1080P高清迅雷网盘下载》高清百度云1080p下载
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：爵士乐Jazz-1080P高清迅雷网盘下载
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由Keith David和Ken Burns主持的艺术纪录片，由PBS在2001年出版-英语旁白Arts Documentary hosted by Keith David and Ken Burns, published by PBS in 2001- English narration
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爵士乐是著名电影制片人肯·伯恩斯（Ken Burns）的专业演奏，庆祝美国音乐-从布鲁斯和拉格泰姆到摇摆乐，波普音乐和融合乐。凭借《爵士乐》，肯·伯恩斯（Ken Burns）对美国生活史诗三部曲的关注度很高，该三部曲始于《平民战争》，后来又延续到《棒球》。该系列由500多种音乐作品，75个访谈，2400个剧照和2000多个电影剪辑组成。其中包括四个附加功能：一部制作Jazz的纪录片和三个历史音乐录影带。发行日期-2001年10月6日DVD数量-10个功能运行时间-约19小时由Ken Burns导演，由Geoffrey C. Ward撰写，由Keith David致敬[编辑]???Gumbo???始于1917年-小号手温顿·马萨里斯（Wynton Marsalis）在本集开始时说：“爵士音乐使美国成为现实。”?“这是一种艺术形式，可以使我们轻松地了解自己。”?爵士乐在1890年代吉姆·克罗时代的鼎盛时期出生于新奥尔良。它是非裔美国人社区的产物，但结合了该国最国际化城市的街道上听到的各种音乐，从加勒比舞蹈和意大利歌剧到布鲁斯，拉格泰姆，军事游行以及浸信会的召唤和回应。它的第一批伟大的练习者是半疯的短笛演奏家Buddy Bolden，他可能是有史以来第一个演奏爵士乐的人。Jelly Roll Morton，他错误地声称自己发明了它，而且确实是第一个写下音乐的人。和西德尼·贝谢?他的单簧管的炽烈声音反映了他自己爆炸性的个性。直到1917年，很少有人有机会听爵士乐，直到1917年，一群白人音乐家-原始迪克西兰爵士乐队-进行了第一次录音。到那时为止，它的唱片销量都超过了其他唱片，爵士乐成为了全国性的狂热。运行时间1:27 [编辑]??礼物???1917-1924年-喧闹声，禁酒令，言论狂热和繁荣的股市-喧闹的“爵士时代”为这一集奠定了基调，爵士的故事成为芝加哥和纽约这两个大城市的故事，路易斯·阿姆斯特朗和埃林顿公爵这两位杰出的艺术家，他们的生活和音乐跨越了近四分之三个世纪。阿姆斯特朗（Armstrong）是在新奥尔良卑鄙的街道上长大的无父之辈，他发展了他所谓的“礼物”-他作为小号手的无与伦比的天才-并于1922年前往芝加哥，在那里他聚集了整整一代人。敬拜的音乐家，白人和黑人。埃林顿（Ellington）由相信自己“有福”的人搬到哈林（Harlem）的父母在华盛顿特区培养了中产阶级的舒适和精致，组成了自己的乐队，并开始播放一种令人陶醉的蓝调音乐来跳舞。同时，乐队负责人保罗·怀特曼（Paul Whiteman）试图使爵士乐更像交响音乐-“使爵士乐脱颖而出”-弗莱彻·亨德森（Fletcher Henderson）仅在Roseland宴会厅为白人舞者演奏柔和甜美的音乐。然后，在1924年，路易斯·阿姆斯特朗（Louis Armstrong）来到纽约加入了亨德森（Henderson）乐队，并向全世界展示了如何摆动。Runtime1:46 ??我们的语言???1924-1928年-随着股市飙升至创纪录的高位，爵士乐在舞厅和各地的演讲场所中演奏。现在的音乐更加注重具有超凡天赋的个人的创新。即兴演奏的独奏者和歌手第一次成为焦点。贝西·史密斯（Bessie Smith）帮助使一个行业脱颖而出A virtuoso performance by acclaimed filmmaker Ken Burns, JAZZ celebrates the music of America - from blues and ragtime to swing, bebop and fusion. With JAZZ, Ken Burns reaches the high note of his epic trilogy on American life that began with THE CIVIL WAR and continued with BASEBALL. The series was created from over 500 musical selections, 75 interviews, 2400 stills and more than 2000 film clips. Four extras are included: a Making Of Jazz documentary and three historic music videos.Release date - Oct 6, 2001Number of DVDs - 10Feature Runtime - ~19 hoursDirected by Ken BurnsWritten by Geoffrey C. WardNarrated by Keith David Gumbo Beginnings to 1917 - "Jazz music objectifies America," the trumpeter Wynton Marsalis says at the beginning of this episode. "It is an art form that can give us a painless way of understanding ourselves." Jazz is born in New Orleans during the 1890s, at the height of the Jim Crow era. It is a creation of the African-American community but incorporates every kind of music heard in the streets of the country's most cosmopolitan city, from Caribbean dances and Italian opera to blues, ragtime, military marches, and the call and response of the Baptist church. Its first great practitioners are the half-mad cornetist Buddy Bolden, who may be the first man ever to play jazz; Jelly Roll Morton, who falsely claimed to have invented it and really is the first to write the music down; and Sidney Bechet, whose fiery clarinet sound mirrors his own explosive personality. Few people beyond its birthplace have a chance to hear jazz until 1917, when a group of white musicians - the Original Dixieland Jazz Band - make the first recording. It outsells every other record made up to the time, and jazz becomes a national craze.Runtime 1:27 The Gift 1917-1924 - Flappers, Prohibition, speakeasies, and the booming stock market - the uproarious "Jazz Age" - sets the tone for this episode, and the story of jazz becomes the story of two great cities, Chicago and New York, and of two extraordinary artists whose lives and music span almost three-quarters of a century - Louis Armstrong and Duke Ellington. Armstrong, a fatherless waif brought up on the mean streets of New Orleans, develops what he calls his "gift" - his unparalleled genius as a trumpet player - and in 1922 makes his way to Chicago, where he gathers around him a whole generation of worshipful musicians, white as well as black. Ellington, brought up in middle-class comfort and refinement in Washington DC, by parents who believe him "blessed" moves to Harlem, forms his own band, and begins to play a new kind of enthralling blues-drenched music for dancing. Meanwhile, the band leader Paul Whiteman tries to make jazz more like symphonic music - "to make a lady out of jazz" - and Fletcher Henderson play soft, sweet music for white dancers only at the Roseland Ballroom. Then, in 1924, Louis Armstrong comes to New York to join the Henderson band and shows the whole world how to swing.Runtime 1:46 Our Language 1924-1928 - As the stock market soars to record heights, jazz is played in dance halls and speakeasies everywhere. The music now places more emphasis on the innovations of supremely gifted individuals; for the first time, improvising soloists and singers take center stage. Bessie Smith helps make an industry out of the blues - and faces down the Ku Klux Klan. Bix Beiderbecke, a brilliant cornetist from the American heartland, demonstrates that white musicians, too, can make important contributions to jazz - only to destroy himself with alcohol at the age of 28. Benny Goodman and Artie Shaw - each the gifted son of Jewish immigrants - find in jazz a way out of the ghetto. Sidney Bechet takes his music and his combative personality to Europe. Duke Ellington gets the break of a lifetime when his band is hired by the most celebrated of all Harlem night spots, the gangster-owned, whites-only Cotton Club, and begins to broadcast his distinctive music all across the country. Meanwhile, Louis Armstrong returns to Chicago, and in 1928, with the pianist Earl Hines, records his first great masterpiece, "West End Blues," which establishes jazz as an expressive art comparable to any other, and proves that Armstrong is the music's presiding genius, what the Wright Brothers are to travel and Albert Einstein is to science.Runtime 1:51 The True Welcome 1929-1935 - As this episode begins, America finds itself mired in the Great Depression, the worst crisis since the Civil War. With the economy in tatters, jazz is called upon to lift the spirits of a frightened country. In Harlem, as dancers Frankie Manning and Norma Miller recall, people are finding solace in a new dance, the Lindy Hop, and in the big band music played by Chick Webb and Fletcher Henderson. At the same time the pianists Fats Waller and Art Tatum spread their own very different brands of musical joy. Both Louis Armstrong and Duke Ellington are prospering in spite of the Depression: Armstrong defies one of America's most most-feared gangsters and revolutionizes American singing, just as he has already transformed instrumental playing, while Ellington's sophisticated music and elegant personal style help change the perceptions - and expectations - of an entire race. Meanwhile, Benny Goodman forms a big band of his own, broadcasting hot swinging music every Saturday night on the "Let's Dance" radio show. When the show is canceled, Goodman, struggling to hold his band together, embarks on a disastrous cross-country tour in the summer of 1935. But at the Palomar Ballroom in Los Angeles young people go wild when Goodman's men begin to play the jazz they love - and the Swing Era is born.Runtime 1:59 Swing: Pure Pleasure 1935-1937 - In the mid-1930s, as the Great Depression stubbornly refuses to lift, jazz comes as close as it has ever come to being America's popular music. It has a new name - Swing - and for the first time musicians become matinee idols. Benny Goodman finds himself hailed as the "Kind of Swing," but he has a host of rivals, among them Tommy Dorsey, Jimmie Lunceford, Glen Miller, and Artie Shaw. Louis Armstrong heads a big band of his own. Duke Ellington continues his own independent course. Billie Holiday emerges from a childhood filled with tragedy to make her first joyous recordings and begin her career as the greatest of all female jazz singers. Benny Goodman demonstrates that in a rigidly segregated country there is still room in jazz for great black and white musicians to play side by side onstage. The episode's finale takes place on May 11, 1937, when 4000 people gather at the Savoy Ballroom in Harlem to witness what is billed as "The Music Battle of the Century." a showdown between Goodman and the indefatigable Chick Webb, a man who hates to lose.Runtime 1:27 Swing: The Velocity of Celebration 1937-1939 - In the late 1930s, swing is still a national craze that keeps on growing despite the Depression, although commerce sometimes leads to compromise and the individual expression at the heart of jazz is too often kept under wraps. But in the middle of the country - in black dance halls, roadhouses and juke joints - a new kind of music has been incubating. Pulsing, stomping and suffused with the blues, it is played by men and women seasoned in cutting contests that sometimes go on all night. It will fall to Count Basie and Lester Young to bring its healing power to the rest of the country. Meanwhile, Louis Armstrong finds true love. Benny Goodman takes his hot sound to Carnegie Hall and then is forced to rebuild the most popular band in America. And Chick Webb, in a bid to reach a national audience, takes a chance on an "ugly duckling," a teen-aged singer named Ella Fitzgerald - and before tragedy strikes achieves all that he has hoped for. Billie Holiday finds a musical soul mate, travels with two of the best bands in the country, and then expresses her pain and indignation at racism in America in one anguished song, "Strange Fruit." In 1939 Coleman Hawkins records a familiar tune in a way so daring and so beautiful that it eventually helps lead to a musical revolution in jazz, while Duke Ellington undertakes a triumphal tour of Europe and sees for himself that World War II is only weeks away.Runtime 1:42 Dedicated to Chaos 1940-1945 - When America enters World War II in 1941, jazz music goes to war, too. Swing becomes a symbol of democracy at home and band leaders Glenn Miller and Artie Shaw enlist and take their music to the men and women of the armed forces overseas. In nazi-occupied Europe, where the gypsy guitarist Django Reinhardt develops his own distinctive way of playing the music, jazz becomes a symbol of freedom and the hope of liberation. In New York, the heart of jazz has moved from Harlem to 52nd Street - where Billie Holiday reigns as unofficial queen despite a growing addiction to narcotics. Duke Ellington leads what some believe to have been the greatest of all his bands - helped now by the gifted young arranger, Billy Strayhorn - and brings his music to ever-greater heights. Meanwhile, underground and after-hours, a small band of gifted musicians led by the trumpet virtuoso Dizzy Gillespie and alto saxophonist Charlie Parker begin to develop a new way of playing - fast, intricate, and infinitely demanding for musicians and listeners alike. Due to a recording ban it goes largely unheard until November of 1945, when Parker and Gillespie are finally able to go into the recoding studio together. With the release of "Koko," the new music called bebop begins to spread, altering the course of jazz forever.Runtime 1:56 Risk 1945-1955 - Despite the escalation of the Cold War and the growing threat of nuclear annihilation, America achieves a level of growth and prosperity unimaginable just a few years earlier. The nation's musical tastes are changing too, as young people turn to sentimental singers and rhythm and blues. One by one, the big bands leave the road, but Duke Ellington stubbornly keeps his band together, while Louis Armstrong puts together a small group, the "All-Stars," and spreads his fame around the globe. Impresario Norman Granz makes a success of his Jazz at the Philharmonic Tours, insisting on equal treatment for every member of his integrated troupes. Meanwhile, bebop musicians Dizzy Gillespie and Charlie Parker are creating some of the most thrilling and inventive jazz ever played, but audiences drift away from their demanding music. A devastating narcotics plague sweeps through the jazz community, ruining lives and changing the dynamics of performance. Charlie Parker never overcomes his own addiction, destroying himself at the age of 34. And a number of gifted musicians - including Miles Davis, Dave Brubeck, Gerry Mulligan and John Lewis - find new ways to bring new audiences to jazz.Runtime 2:02 The Adventure 1956-1960 - Post-war prosperity continues but beneath its placid surface there is a growing demand for civil rights. Louis Armstrong decides to risk his career by speaking out against southern defiance of the Constitution. Miles Davis, having overcome the narcotics addiction that has destroyed so many other musician's careers, signs with Columbia Records, makes a series of legendary albums and becomes an icon for an entire generation of Americans. The gifted clean-living trumpeteer Clifford Brown, a role model for younger musicians, is killed in a car accident, while Duke Ellington, struggling now to stay on the road, experiences a rebirth of his career after a triumphant appearance at the 1956 Newport Jazz Festival. Drummer Art Blakey forms his Jazz Messengers, which for more than 40 years will provide a proving ground for young musicians. Two legendary figures from the 30s - Billie Holiday and Lester Young - pass on not long after making an extraordinary appearance together on television. Meanwhile, three adventurous saxophone masters also make their debut - Sonny Rollins, John Coletrane, and Ornette Coleman, whose bold "free" playing helps to launch a new jazz movement - the avant-garde.Runtime 1:52 A Masterpiece by Midnight 1961-Present - By the early 1960s, jazz is in trouble. Young people now overwhelmingly prefer rock 'n' roll - though Louis Armstrong manages to outsell the Beatles with "Hello Dolly" and Stan Getz helps boost a craze for Bossa Nova. Desperate for work, some musicians go into exile overseas, including the tenor saxophone master Dexter Gordon. Critics divide the music into antagonistic schools - Dixie Land, swing, bebop, hard bop, modal, Free, avant-garde, and more. During the Civil Rights struggle, some artists mix music with social protest, including Max Roach, Charles Mingus, Archie Schepp, and the Art Ensemble of Chicago. John Coltrane dies young, and Miles Davis decides that if he cannot outsell rock musicians he should join forces with them, creating the enormously popular music called Fusion. Both Louis Armstrong and Duke Ellington pass away during the 1970s, and to some, jazz seems to die with them. But just when things seem most desperate, Dexter Gordon returns from Europe, and proves that there is still an audience for mainstream jazz, and a new generation of musicians, led by the trumpeter Wynton Marsalis, emerges, eager to express themselves within the music's great traditions. The musical journey that began in the dance halls and saloons and street parades of New Orleans in the early years of the 20th Century continues - and shows no sign of slowing down. As it enters its second century, jazz is still alive, still changing and still swinging.Runtime 1:49
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【技术参数】——
视频编码: x264 CABAC
比特率: 1820 Kbps
Video 分辨率: 640 x 480
Video 画面比例: 4:3
Video 帧速率: 23.976 帧速率
品质因素: 0.247 b/px
Audio: English
音频编码: Nero AAC
Audio 声道数: 2
音频比特率: 192 kb/s @ 48KHz CBR
Subtitles: none
Series Total 分集时长: 18hr 16min 21sec
分集时长: 87min to 122min
体积: 1.2GiB to 1.7GiB
分集数: 10 + 4 Extras
编码: DocSocrates【Technical Specs】——
Video Codec: x264 CABAC
Video Bitrate: 1820 Kbps
Video Resolution: 640 x 480
Video Aspect Ratio: 4:3
Video Frame Rate: 23.976 fps
Quality Factor: 0.247 b/px
Audio: English
Audio Codec: Nero AAC
Audio Channels: 2
Audio Bitrate: 192 kb/s @ 48KHz CBR
Subtitles: none
Series Total Runtime: 18hr 16min 21sec
Runtime Per Part: 87min to 122min
Part Size: 1.2GiB to 1.7GiB
Number of Parts: 10 + 4 Extras
Encoded by: DocSocrates
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相关纪录片：
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Links
Further Information
Ken Burns' Jazz on Wikipedia.
Read about jazz music on Wikipedia
Ken Burns' Jazz on PBS.org
Release Post
MVGroup.org (ed2k)
MVGroup.org (torrent)
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