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Palmer, a former rock musician and Memphis Blues Festival cofounder best known for his bylines in The New York Times and Rolling Stone, had already chronicled the saga of Southern blues in his seminal book that provides the film's title. He's an astute guide, and Mugge underlines this role by pairing him with British rocker Dave Stewart (Eurythmics), whose avid interest in the music makes him an effective foil.
The film's real triumph, however, rests in the team's success in capturing modern day blues survivors and inheritors playing in the bars, juke joints, and barns of delta country. Palmer, who had returned several years earlier to the delta to capture these artists for his scrappy Fat Possum label, introduces us to the now-amplified but still elemental blues of R.L. Burnside, the late Junior Kimbrough, Jessie Mae Hemphill, Roosevelt "Booba" Barnes, and other keepers of the faith. Mugge, whose profiles of Al Green, Sonny Rollins, and other musicians probed their cultural and artistic contexts with intelligence and sensitivity, captures both the music and the milieu in crisp color footage. Deep Blues thus triumphs as a testament to the blues' deep roots and an unintentional eulogy for Palmer, who would pass away in the mid-'90s just as the gut-bucket music of Burnside and Kimbrough served notice that the blues were alive and kicking. --Sam Sutherland
| CATEGORY: | DVD |
| DIRECTOR: | Robert Mugge |
| THEATRICAL RELEASE DATE: | 1993 |
| MANUFACTURER: | Shout Factory |
| MPAA RATING: | NR (Not Rated) |
| FEATURES: | Color, NTSC |
| TYPE: | Blues Collections, Documentary, Movie, Music Video, Performance |
| MEDIA: | DVD |
| # OF MEDIA: | 1 |
| UPC: | 826663017991 |
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Customer Reviews of Deep Blues: A Musical Pilgrimage to the Crossroads
A great great movie This is a terrific movie. Although I don't recognize any of these artists, they are all great players. The music in this film will have you wishing that you were in Mississippi. If you are like me and love discovering new hidden gems in blues music, this is it. This movie is a great hidden gem. The camera work and a visit from the guy from the Eurythmics make the movie a little cheesy, but once the music starts you forget all that. The music is so much different than what I have been exposed to. I found myself trying to play some of this stuff on guitar. I would die happy if I could play the blues on guitar. <
>Also a side note, there are alot of these documentary type movies out there and they are cheap on Amazon. One that I would recommend is a short movie about Chicago Blues. It is an interesting story about life in the 70's in Chicago. Also it shows how yet again the blues are conjured out of hardship and misery. I can't wait to find the next great film.
Blues is a groove
Aconcise and excellent treatment of a very important subject for all Americans and all musicians world-wide.
A useful survey, perhaps trying to do too much
I havent read this book in decades. In fact, until I was straightening out my library the other day, I didn't even remember I owned a copy.
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> This is well written and compelling reading to me now, after I have spent much of the last 5 or six years playing music, reading about music, talking with great intelligences like Sholmo P whom you have already read on this subject about African American traditional music. This book stands up very well against all the other research that has gone on since it first came out.
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> I found Palmer's description of the transition from preblues to Blues to be most interesting and most useful, not only because it is an area where I have an interest, but because it is so well done, clearly explained, and is careful not to try to say too much. In that wise, I think if Palmer were to rewrite this section he would do well to read Cece Conway's description of the genre of Black banjo songs she describes in her book African Echoes and see how they prefigure the blues along with the jump ups Palmer talks about.
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> Palmer is best in Mississippi at the start when he is talking about Charley Patton and Son House and Bob Johnson, but when he gets past them to Muddy Waters, he has to go quicker and quicker to fit all the Mississippi descended blues artists up to his time in. Not that there is anything bad that he says, nor anything shoddy. It is just that we grow to love the richness of Palmer's history and feel for tradition and the music itself when he has time to stretch out, and we feel we are missing something when he has to compact everything into a few pages.
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> I would say despite its age, like Elijah Wald's book on Robert Johnson, this is a book no one interest in the Blues should live without. It is the kind of book you will read and reread and always find a little bit more as the years go on and you may read other books on the subject, hear other stories.
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