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| Film Works XXI - Belle de Nature / Rijksmuseum |
| John Zorn |
| első megjelenés éve: 2008 |
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| (2008)
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CD |
| 3.906 Ft
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| 1. | Uri Caine
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| 2. | Cyro Baptista
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| 3. | Kenny Wollesen
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| 4. | Carol Emanuel
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| 5. | Marc Ribot
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| 6. | Shanir Blumenkranz
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| 7. | Masque En Sole
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| 8. | Un Rose
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| 9. | L'Air Et Les Songes
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| 10. | Fouet Epineux
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| 11. | Elle Vient
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| 12. | Orties Cuisantes
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| 13. | Belle De Nature
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| 14. | Storage
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| 15. | Conversation
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| 16. | Rendering
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| 17. | Meeeting
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| 18. | Restoration
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| 19. | Consturction
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| 20. | Architecture
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| 21. | Design
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| 22. | Planning
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| 23. | Completion
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Jazz
Contains two very different film scores for two very different movies—one, a bit of French S/M erotica & the other a documentary about the renovation of the world-famed Rijksmuseum in Amsterdam. From baroque minimalism to a sensual fusion of harp, guitar & bass, the cues here are some of the most unique & charming in the entire series
The year 2008 has been an amazingly busy one for John Zorn. This is the third of four additions to his ever growing Film Works series; he also recorded the utterly beautiful Dreamers this year, and his collection of Masada compositions, Book of Angels, has grown to ten volumes with the release of Lucifer. Film Works, Vol. 21 combines two very different scores for a pair of films that are as different from one another as night and day, and are played by two different ensembles. The first seven cues make up the score to famed fetish film director Maria Beatty's Belle de Nature. Beatty and Zorn have worked together before, on two other erotic films, Elegant Spanking, which was documented on Film Works, Vol. 4, and The Black Glove (considered her finest picture), documented on Film Works, Vol. 6. Beatty's films focus on the edges of desire and lesbian love. The band on this set includes all Zorn veterans: guitarist Marc Ribot, harpist Carol Emanuel, and bassist extraordinaire Shanir Blumenkranz. This small chamber ensemble makes these first seven cues as riveting as they are beautiful. The sheer exotic nature of these strings all played together in woven layers of counterpoint and rhythmic and melodic invention creates a soundscape that sounds much more lush than it actually is. While each cue is a truly expansive small journey in its own right, when taken together they have the capacity to transport the listener to another place. That said, most notable is "Orties Cuisantes," on which Ribot simply cuts loose on the electric guitar with his requisite taste and aggressive bite and timing, made even more powerful by the interlocking grooves played by Emanuel and Blumenkranz in support.
The second score in this set belongs to a documentary project by director Oeke Hoogendijk, about the renovation of the famed Rijksmuseum in Amsterdam, simply titled The New Rijksmuseum. The ensemble Zorn assembled for this score features percussionist Cyro Baptista, percussionist and vibraphonist Kenny Wollesen, and pianist Uri Caine (who is new to theZorn film music crew), playing not only piano but harpsichord. What is perhaps most perverse when hearing this wonderfully strange score is that the filmmakers originally wanted to license music from one of Zorn's Masada String Trio recordings for the soundtrack. In his perverse way, Zorn sold them on something entirely new instead. The harpsichord evokes Bach -- one of the cues, "Restoration," was even modeled on a Bach composition. Yet, while there are many classical overtones in these pieces -- such as the seeming variation on Scarlatti in "Conservation" -- the fabric created by specially made glass percussion instruments by Baptista and Wollesen's vibes takes the music into completely different realms. Jazz and Latin percussion weave together on "Rendering," where the harpsichord is utilized as a groove instrument to accompany Baptista's rhythms as the vibes become the central focus of the work. The truly strange thing about Vol. 21 is how well these seemingly disparate scores work as a whole. As an album it becomes a wondrous bit of 21st century exotica that is musically savvy and hip. This is an excellent addition to the series.
--- Thom Jurek, All Music Guide
John Zorn
Active Decades: '70s, '80s, '90s and '00s
Born: Sep 02, 1953 in New York, NY
Genre: Avntg, Jazz
Styles: Avant-Garde, Avant-Garde Jazz, Experimental, Film Music, Free Improvisation, Free Jazz, Jewish Music, Modern Composition, Modern Creative, Post-Bop, Structured Improvisation
It is possible to call John Zorn a "jazz" musician, but that would be much too limiting a description. While jazz feeling is present in a good deal of his work, and the idea of improvisation is vitally important to him, Zorn doesn't operate within any idiom's framework, drawing from just about any musical, cultural, or noise source that a fellow who grew up in the TV and LP eras could experience. This eclecticism gone haywire can result in such wildly jump-cutting works as Spillane, whose plethora of diverse and incompatible styles makes for a listening experience akin to constantly punching the station buttons on a car radio.
Zorn believes that the age of the composer as an "autonomous musical mind" had come to an end in the late 20th century; hence the collaborative nature of much of his work, both with active musicians and music and styles of the past. Like Mel Brooks, the zany film director, many of Zorn's works are tributes to certain musical touchstones of his -- such as Ennio Morricone, Sonny Clark, and Ornette Coleman -- all filtered through his unpredictable hall of mirrors. While it would be foolhardy to single out a handful of dominant influences, Zorn's music seems very close in spirit to that of Warner Bros. cartoon composer Carl Stalling, both in its transformation of found material and manic, antic moods.
This calculating wildman started playing the piano as a child before taking up the guitar and flute at age ten. By the time he was 14, Zorn had discovered contemporary classical music and began composing; his college years in St. Louis brought about his introduction to avant-garde jazz, particularly that of Anthony Braxton. He dropped out of college, settled in lower Manhattan, and began working with free improvisers, rock bands, and tape, sometimes working duck and bird calls into his arsenal. After putting out releases on tiny domestic and poorly distributed import labels, Zorn signed with Elektra-Nonesuch in the mid-'80s, which increased his visibility considerably. Along the way, he has formed tribute bands to play the music of Coleman, Hank Mobley, Lee Morgan, and others; featured musicians as diverse as Big John Patton, Tim Berne, Bill Frisell, and the Kronos Quartet; and assembled a group called Masada that merges Coleman with Jewish music. Jazz buffs should be directed to his Coleman tribute album Spy vs. Spy (Nonesuch), which makes exciting, thrashing, yet concise hashes of 17 Ornette tunes with a quintet.
---Richard S. Ginell, All Music Guide |
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