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楼主: 急急流年

急急流年心目中的香颂世界———————————我心目中的香颂名家以及我收藏的Chan

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 楼主| 发表于 2004-11-24 14:32 | 显示全部楼层
[B]9.Henri Salvador[/B] [/SIZE] [/COLOR] (1917-~~)[/SIZE]

You could classify Salvador as the in-house funny guy who made us the whole of France laugh with 。 "Zorro" and "Le Blues du dentiste"[/COLOR]. But behind the humour, there is the genius of a formidable creative artist who, among other things, invented the video clip. Close both to Boris Vian and to Ray Charles, he is the perfect example of what France does best in the culture fusion department.


Ma chere et tendre(我溫柔的愛人)


Henri Salvador從法國著名景點' Jardin d'hiver冬日花園'的'Gates Of Eden伊甸園之門'找到新專輯【Ma Chère Et Tendre】的創作情感泉源

这张碟片有两种,我这张是环保包装的,在Amazon上值32欧元。简盒张的7欧元。

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 楼主| 发表于 2004-11-24 14:38 | 显示全部楼层
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老男人的南美风格

2000年底推出的《Chambre avec vue》 (Room With A View,“看得见风景的房间”专辑无疑是他从艺70年来最好的诠释性总结。
这张唱片在2000年赢得法国the Victoire de la Musique大奖

萨尔瓦多很早就跟随著名爵士吉它大师Django Reinhardt一起走南闯北的巡回演出,此后更是在巴西居住过好几年,所以他的音乐里至始自终带着淡淡的Bossa Nova的清香,而在他晚年发行的这张专辑里此种味道无疑是愈发浓郁,其中当然也融合了法国传统巴黎Cabaret酒馆小调、拉丁爵士以及安第列斯群岛的民谣,因此专辑的音乐除了给人一种热带独有的慵懒闲适之外,还更具一种巴黎特有的儒雅、清淡和适度的机智和幽默感。

法國傳奇女歌手Francoise Hardy為Henri寫了“Le Fou De La Reine”並與其對唱!

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 楼主| 发表于 2004-11-24 14:42 | 显示全部楼层
chansons douces
越老的男人唱歌就越有味道,这句话用在萨尔瓦多身上是最合适不过了,法国人喜欢把萨尔瓦多绵软的哼唱称为“牙医的布鲁斯”,诗、意、摇摆、幽默、爽朗的笑声,这些都已成为萨尔瓦多音乐的标志。

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 楼主| 发表于 2004-11-24 14:45 | 显示全部楼层
Henri Gabriel Salvador于1917年7月18日出生在法属圭亚那(南美洲)的首都Cayenne。7岁的时候,Henri随父母移居到法国。大约11岁时,他开始研习艾灵顿公爵和路易斯阿姆斯特朗的音乐,立志成为一个音乐家。他的父母给他买了一把吉他,他则通过聆听当时一位的音乐大师Django Reinhardt的作品来学习演奏。在其职业生涯中,爵士始终是Henri Salvador的工作核心。



Salvador中年的时候

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 楼主| 发表于 2004-11-24 15:20 | 显示全部楼层
幽默和机智是Henri Salvador音乐的标签,1996年,他以79岁的高龄获得“Victoires de la Musique“ 奖,之后又以饱满的热情与美国歌手Ray Charles组成了一只神奇的二重唱。

纵使形体老迈,但聆听Henri Salvador的歌声却会惊讶他的声音依然保持非常年轻的质感,或许有时在岁月的冲刷淬洗下,难免带点沧桑味道(听听他中场讲话与唱歌时的声音,简直以为是两个人),但当他唱起歌来,整个立刻就判若两人地散发出他个人独到的演唱魅力。

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 楼主| 发表于 2004-11-26 19:51 | 显示全部楼层
恐龙级的人物还没介绍完,如Rina ketty, Josephine baker, patachou等,以后补遗,下面正式介绍一些大家熟悉的经典人物先:

[B]10.Georges Brassens[/B] [/SIZE] [/COLOR] (1921-1981)[/SIZE]




Georges BRASSENS
Georges Brassens, one of the most important figures in French musical history, created his unique style in the 40's, forging a legendary reputation with his poetical texts set to simple, but catchy, melodies.


水星出的一张唱片

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 楼主| 发表于 2004-11-26 19:55 | 显示全部楼层
他的男中音,浑厚优美,在法语歌手中可以说是不多见的,所以郑重向大家推荐!

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 楼主| 发表于 2004-11-26 19:57 | 显示全部楼层
他的歌往往具有民谣风格,简朴的原音吉它伴着他厚重的嗓音,让听歌的人绝对放松

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 楼主| 发表于 2004-11-26 20:02 | 显示全部楼层
Georges Brassens was born in Sète, a small harbour town on the French Mediterranean coast, on October 22 1921. His father, Louis Brassens, a builder and local entrepreneur, married Elvira Dagrosa (recently widowed in the First World War) in 1919 and Georges was brought up with his nine-year-old half-sister, Simone, the child from his mother's previous marriage.

Although his parents had fundamentally different points of view on many issues including religion (Elvira was an extremely pious woman, whereas Louis was a notorious anti-cleric) Georges grew up in a happy family environment. Music filled the Sète household throughout Georges's childhood. Indeed, his mother, greatly influenced by her Neapolitan origins, had a veritable passion for traditional Italian folk songs and mandolin music. The young Georges was encouraged to play the mandolin from an early age and it was on this instrument that he learnt the simple chords he would later develop on the guitar.

Georges was an average pupil at school, but his French teacher Alphonse Bonnafé (who would go on to write the first Brassens biography in 1963) soon introduced him to poetry, which was to become the young Georges's overwhelming passion in life. Georges soon began writing poems and song lyrics in his spare time, setting these to the fashionable tunes of the day. Georges then went on to form his own group, "Jazz", a small orchestra which performed at local fetes and cultural events. (Georges was the drummer).

By this time Georges had proved that his talents were definitely not related to his school studies. His future was decided for him when, following a theft at his school in the autumn of 1938 (a theft in which Georges was implicated without actually having been involved) he was obliged to leave the school. Georges had already outgrown the small town of Sète anyway and he was thinking of packing his bags and moving to Paris. But when war broke out at the end of the year (an event which did not really affect life in Sète) Georges continued working with his father, delaying his plans for a while. In February 1940, howeevr, he finally arrived in the capital, where he lived with his aunt, Antoinette Dagrosa, for the first few months, and worked at the Renault car factory to earn his living.

Georges continued writing poetry, however, and he would frequently return from work and sit down at his aunt's piano to compose new songs. When Paris was bombarded later that year he returned to Sète for a few months, but he was back in the capital by September. From this point on Georges devoted all his time and energy to his poetry and by 1942 he had succeeded in publishing two short collections of poems, "A la venvole" and "Des coups d'épée dans l'eau".

In March 1943 Brassens was sent to Germany to work as an S.T.O. (an obligatory war worker) at Basdorf. It was here that Brassens met fellow S.T.O. Pierre Onténiente, who would become one of the singer's lifelong friends. In 1956 Onténiente (whom Brassens who had a penchant for nicknames always referred to as "Gibralter") would become his private secretary and closest confidant.

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 楼主| 发表于 2004-11-26 20:04 | 显示全部楼层
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Brassens, the ever-faithful friend

Brassens placed enormous importance on friendship and throughout his life he would remain faithful to his childhood friends from Sète and the new friends he made in Germany. Brassens was also close friends with numerous celebrities (including the writer René Fallet, Belgian singer Jacques Brel, the French comedian Raymond Devos and the actor Lino Ventura).

In March 1944 Brassens returned home on leave. Vowing that he would never go back to Germany he went into hiding in Paris in the home of Jeanne and Marcel Planche, a couple to whom Brassens remained devoted for the rest of his life. Indeed, in the course of his career, Brassens would devote numerous songs to the Planches, such as "La canne de Jeanne" (in 1953) and "Chanson pour l'auvergnat" for Marcel (in 1955). The singer would end up living with the couple until 1966.

It was while living in the Planches's home, surrounded by the cats he adored, that Brassens composed many of his classic songs. The singer would rarely compose his work by picking out chords on his guitar. Instead, he would begin by creating rhymes in his texts, tapping out a rhythm on his desk by hand. He would then pick out a simple melody on the piano, fitting the lyrics around the notes. Although his melodies always appeared exceedingly simple, they were generally fairly complex compositions. Brassens, having received no formal musical training created his own rules as he went along.

In 1946 Brassens began to earn a living by publishing articles in the anarchist review "Le Libertaire". While Brassens may not have expressed his personal form of anarchy in a political way, such as the famous French protest singer Léo Ferré did, his songs were openly irreverent and anti-conformist. Brassens was already ready to attack hypocrisy and social coventions, and particularly eager to launch attacks on his bête noire, religion. Brassens would also write numerous songs about society's underclass, peopling his lyrics with tramps and prostitutes.

In 1947 Brassens published his first novel "La lune écoute aux portes". At this point in his career Brassens was still continuing to devote time and energy to his songwriting career. Indeed, he penned some of his most famous songs during this period (such as "Brave Margot", "La mauvaise réputation" and "Le Gorille", a fervent plea against the death penalty which remained banned from French airwaves for several years).

It was in also around this time that Brassens met and fell in love with Joha Heiman, the Estonian woman with whom he would share the rest of his life. Although the couple never married or lived in the same house, they were devoted to one another. Georges nicknamed Joha Püppchen (Little Puppy) and once said of her, "Joha's not my wife, she's my goddess".

  
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