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| All Hat |
FILMZENE
Bill Frisell |
| első megjelenés éve: 2009 |
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| (2009)
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CD |
Kérjen
árajánlatot! |
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| 1. | John Hardy
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| 2. | Opening Theme
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| 3. | Meet the Stantons
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| 4. | Chrissies Fall
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| 5. | Peckerwood
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| 6. | Hardy Race
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| 7. | Empty Barn
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| 8. | Stable Scene
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| 9. | Sting
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| 10. | Etta Interlude
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| 11. | Theme Version 2
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| 12. | Chrissies Theme
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| 13. | Theme Version 3
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| 14. | Empty Barn, Pt. 2
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| 15. | Stanton Theme
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| 16. | Interlude, Pt. 2
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| 17. | John Hardy/Ray Returns to Etta
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| 18. | Ray Driving
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| 19. | Empty Barn, Pt. 3
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| 20. | Theme
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| 21. | Ray and Etta
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| 22. | Jackson's Epiphany
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| 23. | Hardy Bar Song
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| 24. | Theme, Pt. 5/Waltz
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| 25. | Interlude, Pt. 3
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| 26. | Hardy Duet
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| 27. | Chrissie in the Meadow
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| 28. | Sonny's Losing Montage
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| 29. | Last Race
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| 30. | Etta's Theme
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| 31. | End Credits
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Jazz / Soundtrack
Bill Frisell: electric and acoustic guitars, loops
Greg Leisz: steel guitars, mandolin; Jenny Scheinman: violin; Viktor Krauss: bass; Scott Amendola: drums, percussion; Mark Graham: harmonica
The soundtrack was produced by Lee Townsend, the band is comprised of many of the musicians Bill played with on his Grammy -winning East West live album--Greg Leisz on pedal steel, Viktor Krauss (Alison's virtuoso brother) on bass, Jenny Scheinman on violin, Scott Amendola on drums and Mark Graham on harmonica.
Guitar icon Bill Frisell conjures up a uniquely atmospheric score for the new film from director Leonard Farlinger - drawing on his natural aptitude for mixing jazz, blues and folk sounds into his own distinct vision of Americana.
Ray Dokes (Luke Kirby), is fresh out of prison. Returning home, he discovers the countryside of his youth transformed. Urban development crawls across the pastoral fields like a rash. Determined to stay out of trouble, Ray heads to the farm of his old friend Pete (Keith Carradine), a Texan cowboy, whose debts are growing faster than his corn.
Sonny Stanton (Noam Jenkins), the heir to a thoroughbred dynasty, is buying the entire concession of farmland to build a golf course. One of the farms he's after belongs to Etta Parr (Lisa Ray), Ray's old flame. Seems she's the only one brave enough to stand in Sonny's way.
Ray hooks up with Chrissie (Rachael Leigh Cook), a kick-ass jockey and tries to steer clear of Sonny. When a million-dollar thoroughbred goes missing from the Stanton Stables, Sonny gets desperate and forces the sale of the community's remaining farms.† Ray reacts by pulling together the community and coming up with a scheme to stop Sonny once and for all. One false move will land Ray back in jail.
Starring Luke Kirby, Keith Carradine, Lisa Ray, and Rachael Leigh Cook, written by Brad Smith adapted from his country noir novel, directed by Leonard Farlinger (The Perfect Son) and produced by Jennifer Jonas (Monkey Warfare, Childstar).† Shot by cinematographer Paul Sarossy (Affliction, The Sweet Hereafter), with production design by Matthew Davies (Fugitive Pieces, Snow Cake, The Saddest Music in the World) and featuring a musical score by Grammy award-winning jazz guitar legend Bill Frisell.
All Hat - about hope, redemption and getting even - not necessarily in that order
Bill Frisell talks about how he composed the music for the score of All Hat:
"The script - All Hat is such a great story - and the chance to actually work on a film from beginning to end.† In the past I've contributed songs to films, but nothing where I was in on it from beginning to end and doing the score.† It's so interesting to work from the script stage, in this case I started working at script stage and was looking at scene edits before the film was finished shooting, and then took various passes during the editing.
I write lots and lots of music with a vague idea of what I'm after, inspired by characters, a small detail, a sunset, will inspire melodies.† It's hard for me to write one thing on command.† I won't write one melody for a character, I'll write twenty and then sift through it all.† When Len and Jenn first came down to see me I had narrowed it down to a few major themes which I played for them, and then I gradually honed in on what seemed right.
I was able to bring in a bunch of people that I play with regularly and we sat down and jammed in front of a cut in Seattle, I had written the music, but it was such a luxury to have these people in front of me, we would take music I wrote for a scene but experiment with it quickly because we are so familiar with each other, and make changes to make the music work.
It's really similar but on a much larger scale with film - when I do an album all the steps you go through of recording, editing, mixing, mastering, with film you go through the same steps but each step is much more involved.† The music for me is like a miniaturized version of what it's like to make a film.† It really blew my mind to see how the film changed while I was working on the music, even just a few seconds being removed from a scene can change the entire tone and message of a scene."
Bill Frisell
Active Decades: '70s, '80s, '90s and '00s
Born: Mar 18, 1951 in Baltimore, MD
Genre: Jazz
Styles: Modern Creative, World Fusion, New Acoustic, Fusion, Post-Bop, Progressive Jazz, Progressive Folk, Neo-Traditional Folk
The defining characteristic of any given jazz musician is frequently his sound. The more control a player has over the nature of that sound, the more likely he is to project a distinctive musical personality. For example, a saxophonist has virtually unlimited physical control of the sound that comes through his horn, and therefore a wide range of tonal expression at his command -- which partially explains the disproportionate number of saxophonists in the pantheon of great jazz musicians. On the other hand, few electric guitarists inhabit that realm, in part because the typical jazz guitar sound differs little from player to player. In general, guitarists do not have the same degree of physical control. Without the use of signal processing -- which jazz purists shun -- they're mostly stuck with the generic sound that comes out of their amp. Hence, guitarists have historically tended to "sound" more or less the same.
Bill Frisell is a notable exception. Among jazz guitarists, Frisell is unique in his exploitation of variable timbre. Frisell's sound swells and breathes like a saxophonist's (interestingly, Frisell played clarinet as a child). In many ways his sound is reminiscent of a pedal steel guitar. And although his work is steeped in jazz, Frisell is a man of catholic tastes. His music includes characteristics of rock, country, and bluegrass, among various other styles. Such liberality explains his willingness to expand his tonal palette beyond that of the typical jazz guitarist. Where so many conventional jazz guitarists define themselves by how many notes they can play, Frisell has carved a niche by virtue of his sound. His ability as an original, lyrical player of melody combines with a unique (if much imitated) sound to make him one of the most singular musicians of his generation.
Born in Baltimore, Frisell grew up in Denver, CO. He began playing the clarinet in the fourth grade and took up guitar a few years later for his personal amusement. He continued with the clarinet, playing in school concert and marching bands. Frisell briefly considered playing classical clarinet professionally. He played guitar in rock and R&B bands as a teenager (high school classmates included Philip Bailey, Andrew Woolfork, and Larry Dunn, future members of the funk group Earth, Wind & Fire). He discovered jazz in the music of Wes Montgomery and began to study the music. Dale Bruning, a Denver-based guitarist and educator, fed his fascination with jazz.
Frisell decided to make guitar his primary instrument. After briefly attending the University of Northern Colorado, he moved to Boston in 1971 to attend the Berklee School of Music. There he studied with Michael Gibbs and John Damian. While at Berklee, Frisell connected with other like-minded players (Pat Metheny was a classmate). He also studied with Jim Hall, who became an important influence, especially in terms of harmony. In the mid-'70s, Frisell began moving away from pure bebop and began fusing jazz with his other musical interests. At about this time he began developing his atmospheric, quasi-mictrotonal style. He discovered that, by using a guitar with a flexible neck, he could manipulate the instrument's intonation. A combination of experimental techniques and signal processors like delay and reverb gave Frisell a sound unlike any other guitarist.
In the late '70s, he traveled to Belgium. There he met Manfred Eicher, the founder of ECM Records. Beginning in the early '80s, Frisell recorded prolifically for the label, as leader and sideman with such musicians as Paul Motian and Jan Garbarek. He continued with the label throughout the decade, earning a reputation as ECM's "house guitarist." Frisell became much acclaimed by critics for his sophisticated yet accessible work. Frisell moved to New York in the '80s, where he worked with many of the most creative musicians active on the city's "downtown" jazz scene.
In the '80s and '90s, he would record and perform with a huge variety of artists, not all of them jazz musicians. Collaborators would include rock and pop musicians (drummer Ginger Baker, singers Marianne Faithfull and Elvis Costello), experimental jazz musicians (saxophonist/composers John Zorn and Tim Berne), and at least one classical composer (Gavin Bryars). Frisell composed soundtracks for the silent films of Buster Keaton. His 1996 album Quartet won the Deutsche Schallplattenpreis, the German equivalent of the Grammy. Frisell became an annual winner of various magazine polls for his solo work and recordings.
By the end of the '90s, Frisell was one of the most well-known jazz musicians in the world, with an audience and an aesthetic that transcended the boundaries of any given style. It should be mentioned that, while Frisell is best known for his somewhat "ambient" guitar technique, he is a swinging, harmonically fluent jazz player when the occasion warrants. Frisell moved to Seattle, WA, in 1989 and stayed active as the 21st century opened, releasing Ghost Town in 2000, followed by a set with Dave Holland and Elvin Jones in 2001. Blues Dream also appeared that same year, followed by The Willies in 2002. East/West and Richter 858 were both released in 2005, and a set with Ron Carter and Paul Motian in 2006. History, Mystery followed in 2008.
---Chris Kelsey, All Music Guide |
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