and then I realized I was making all of my papers about the banjo anyway.

然後我意識到，無論如何，我的論文都是關於班卓琴的。

My name is Jake Blount.

我的名字是傑克-布朗特。

I am a performer and scholar of traditional Black folk music.

我是一個傳統黑人民間音樂的表演者和學者。

I live in Providence, Rhode Island.

我住在羅得島的普羅維登斯。

I live in Providence, Rhode Island.

我住在羅得島的普羅維登斯。

What's the name of it?

它的名字是什麼？

Altamont.

阿爾塔蒙（Altamont）。

Altamont. Got it.

阿爾塔蒙。明白了。

I first heard that song on

我第一次聽到這首歌是在

the field recording from Murph Gribble, John Lusk and Albert York

Murph Gribble、John Lusk和Albert York的實地記錄。

which is on a release from the Library of Congress

這是在美國國會圖書館的發佈上的內容

called Black Stringband Music from the Library of Congress.

稱為美國國會圖書館的黑人絃樂隊音樂。

Say what you will about the title.

說說你對這個標題的看法。

It's easy to find, you know.

這很容易找到，你知道。

There's Albert Yorke playing guitar

有阿爾伯特-約克在彈吉他

John Lusk playing the fiddle

約翰-盧斯克演奏小提琴

and Murph Gribble playing the banjo.

和墨菲-格里布爾演奏班卓琴。

They were a black stringband

他們是一條黑色的線帶

they recorded in the 1940s and by most definitions

他們在20世紀40年代錄制，根據大多數的定義

they're actually an early bluegrass band.

他們實際上是一個早期的藍草樂隊。

But for a variety of reasons,

但由於各種原因。

I would consider their race to be probably the main reason

我認為他們的種族可能是主要原因

they aren't really embraced as part of the bluegrass story.

他們並沒有真正被接納為藍草故事的一部分。

When I study modern day Black banjo players...

當我研究現代的黑人班卓琴手時...

I am studying not only the music that they make

我不僅在研究他們製作的音樂

but what makes that music significant to them within its social context.

但是，是什麼讓這種音樂在其社會背景下對他們有意義。

The banjo was descended from West African instruments

班卓琴是西非樂器的後代

and during enslavement and during the time immediately following

以及在被奴役期間和緊接著的時間裡

people associated the banjo with Black people.

人們將班卓琴與黑人聯繫起來。

Toward the end of enslavement

走向奴役的終點

we start to see blackface minstrels come to the fore.

我們開始看到黑臉吟遊詩人嶄露頭角。

Blackface minstrelsy was this really...

黑臉吟遊詩人是這個真正...

gross performance practice in which white musicians

白人音樂家的粗暴表演行為

would black up their face and

會把自己的臉塗黑，並

lampoon Black musical traditions for a white audience.

嘲笑黑人音樂傳統的白人觀眾。

That had the effect of popularizing the banjo

這產生了普及班卓琴的效果。

which was featured very prominently.

這是很突出的特點。

And eventually bluegrass emerged.

最終出現了藍草。

And that became the main way that people knew the banjo

這成為人們認識班卓琴的主要方式。

and interacted with it.

並與之進行了互動。

Early on in the record industry

在唱片業的早期

when folks started going down to the south

當人們開始到南方去的時候

they began to record artists

他們開始錄製藝術家

and consider how they could sell those records.

並考慮他們如何能夠銷售這些唱片。

They decided to confine Black musicians

他們決定將黑人音樂家限制在

to a category called "race records"

到一個叫做 "比賽記錄 "的類別

and confine white musicians to a category called "hillbilly records".

並將白人音樂家限制在一個叫做 "鄉巴佬唱片 "的類別中。

The end result of that was that Black people

這樣做的最終結果是，黑人

who played what might have been considered hillbilly music

扮演可能被認為是鄉下人的音樂的人

which would have been early country string band music...

這應該是早期的鄉村絃樂隊音樂...

they were not recorded

他們沒有被記錄下來

because they weren't marketable in that category.

因為他們在這個類別中沒有市場。

Race records were by Black people and for Black audiences

種族唱片是由黑人創作的，為黑人聽眾而作的。

but were supposed to be blues or jazz.

但應該是藍調或爵士樂。

Many of the early country musicians

許多早期的鄉村音樂人

had Black mentors and Black collaborators.

有黑人導師和黑人合作者。

Lesley Riddle, for example, who taught the Carter family.

例如，萊斯利-裡德爾，他教過卡特家族。

Many of the Black musicians who were teaching early white country musicians

許多黑人音樂家在教導早期的白人鄉村音樂家時

did not get recorded themselves.

自己沒有被記錄下來。

And that's just one iteration of this pattern

而這只是這種模式的一個迭代而已

we see where the music industry

我們看到了音樂產業的發展方向

extracts artwork from Black communities

提取黑人社區的藝術作品

uses them to generate a ton of money

用它們來產生大量的資金

and then directs absolutely none of that money back

然後把這些錢完全不還給他們

into the community that invented the music it's selling.

進入發明它所銷售的音樂的社區。

People spend a lot of time deriding and belittling Black folk music traditions

人們花了很多時間嘲笑和貶低黑人民間音樂的傳統

instead of studying them.

而不是研究它們。

And that's one of the big flaws

而這是其中一個大的缺陷

with our current canon of folkloric recordings.

與我們目前的民俗錄音典籍。

But the vast majority of these recordings were made by white people.

但這些錄音中的絕大多數是由白人制作的。

We know that many of the Black

我們知道，許多黑人

string bands at that time, including Gribble, Lusk, and York,

當時的絃樂樂隊，包括格里布、盧斯克和約克。

had separate repertoire that they played for Black people then they played for white people.

他們為黑人演奏的曲目與為白人演奏的曲目不同。

Which means that probably much of this music never got

這意味著，這些音樂中可能有很多都沒有得到

put down on any sort of semi-permanent medium

放在任何一種半永久性的媒介上

because it wasn't safe to perform it for them in that time and place.

因為在那個時間和地點為他們表演並不安全。

My new album, The New Faith, is an Afro-futurist story

我的新專輯《新信仰》是一個非洲未來主義的故事

that explores what traditional Black folk music might sound like

探討傳統黑人民間音樂可能聽起來像什麼

post-climate crisis.

後氣候危機。

My idea for this album was to make a field recording from the future.

我對這張專輯的想法是要做一個來自未來的現場錄音。

It lets me go backward and forward in time, at the same time.

它讓我同時在時間上往回走和往前走。

Once there were no sun.

曾經沒有太陽。

Once there were no sun.

曾經沒有太陽。

And I learned "Once there was no sun"

我學會了 "曾經沒有太陽"

from a recording of Bessie Jones.

來自貝西-瓊斯的錄音。

Once there was no sun.

曾經沒有太陽。

Lord, once there was no sun.

主啊，曾經沒有太陽。

She was a fantastic singer

她是一位出色的歌手

and lived for most of her life

並在她一生中的大部分時間裡生活在

in Georgia amongst the Gullah Geechee people.

在喬治亞州的古拉-蓋奇人中。

It describes the world before the creation of Sun and Moon.

它描述了太陽和月亮被創造之前的世界。

This particular song comes out of a ring shout tradition.

這首特殊的歌曲來自於一個環形喊叫的傳統。

The ring shout is a religious ritual

喊環是一種宗教儀式

that's been passed down among the Gullah Geechee people for a very long time

在Gullah Geechee人中流傳了很久的故事

and it includes someone with a broomstick banging out this

其中包括有人拿著掃帚敲出這樣的句子

bum bum bum, bum bum bum rhythm.

bum bum bum, bum bum bum的節奏。

We wound up just putting that on the kick drum

我們最後只是把它放在踢鼓上。

because I tried to come up with a different part

因為我試圖想出一個不同的部分

and it just turned into that anyway.

反正就是變成了這樣。

Once there was no sun.

曾經沒有太陽。

once there were no sun.

曾經沒有太陽。

Turns out the thing that they've been doing for several hundred years

事實證明，他們已經做了幾百年的事情了

is... right.

是......對的。

I knew I wanted to draw off of this Hans Sloane text

我知道我想從漢斯-斯隆的這篇文字中汲取靈感

because it's the oldest stuff that I've studied.

因為這是我研究過的最古老的東西。

Hans Sloane made a trip through the Caribbean in the late 1600s.

漢斯-斯隆在16世紀末進行了一次穿越加勒比海的旅行。

His work is one of the earliest written descriptions

他的作品是最早的書面描述之一。

of a banjo that we think we have.

我們認為我們有的班卓琴的。

And he included sheet music

他還附上了樂譜

for some of the songs that he heard people singing.

為他聽到人們唱的一些歌曲。

I was really drawn to this very simple

我真的被這個非常簡單的

but very epic sounding song called Angola

但聽起來非常有史詩感的歌曲《安哥拉》。

which is just nice call and response arrangement between an instrument and a voice.

這只是樂器和聲音之間很好的呼喚和迴應安排。

So the little banjo piece that I incorporated there is...

是以，我在那裡納入的小班卓琴片是...

Because of the way the progression of the song goes

因為歌曲的進展方式是這樣的

I wound up changing it to...

我最後把它改成了...

A lot of these songs either have no hook or only a hook.

很多這些歌曲要麼沒有鉤子，要麼只有一個鉤子。

There's there's never a verse and a chorus.

從來沒有一個詩句和一個合唱。

And that left me with with a little bit of a heavy lift

而這給我留下了一點沉重的負擔

as far as finding things to put in between the verses.

至於找東西放在詩句之間。

And I wound up coming up with these

而我最終得出的是這些

rhythmic fiddle parts.

有節奏的小提琴部分。

The clapping pattern.

拍手的模式。

Clapping is very prominent

鼓掌是非常突出的

in all these old ensemble recordings of Black folk music.

在所有這些古老的黑人民間音樂的合奏錄音中。

It's just, you know, one of the most accessible

它只是，你知道，最容易接觸到的一個

percussion instruments you have.

你擁有的打擊樂器。

When drums are illegal, as they were for black people

當鼓是非法的，就像以前對黑人一樣

for most of this music's developmental period.

在這種音樂的大部分發展時期，都是如此。

I knew that it had to be in there.

我知道它必須在那裡。

There was no obvious place to put it on this

沒有明顯的地方可以把它放在這上面。

because of the way the beat lined up.

因為拍子的排布方式。

And it's a very weird pattern,

而這是一個非常奇怪的模式。

even though that's not a sound

雖然這不是一個聲音

or a texture that you would find in those field recordings.

或你會在那些現場錄音中發現的紋理。

I tried to use the same approach of the field recordings

我試圖用同樣的方法進行現場錄音

in building those sounds and...

在建立這些聲音和...

I think it wound up integrating pretty well.

我認為它最終整合得很好。

Once there was no sun.

曾經沒有太陽。

Once there was no sun.

曾經沒有太陽。

Once there was no sun.

曾經沒有太陽。

I heard the angels singing.

我聽到天使在唱歌。

I think part of what drove me to this new project

我認為促使我參與這個新項目的部分原因是

is thinking about the continuity of those sounds.

是在思考這些聲音的連續性。

Instead of trying to reenact something.

而不是試圖重演什麼。

Maybe envision something instead.

也許可以設想一些東西來代替。

When it comes to the older stuff...

說到老的東西......

because those folks were exploited by the record industry

因為這些人被唱片業剝削了。

because they were misrepresented by academics

因為他們被學術界誤解了

and by PR reps and everybody else

並由公關代表和其他所有人負責

along the way who was sold this music

一路走來，誰被賣了這個音樂

but was not part of that community...

但不是那個社區的一部分......

I feel duty bound to set the record straight.

我覺得有責任澄清事實。

I think there's something that is very cool

我認為有一些東西是非常酷的

about representing those old traditions

關於代表那些古老的傳統

and feeling like I'm part of a solid lineage that way.

並感覺我是這樣一個堅實的血統的一部分。