Music & Movies: Screen Variations
Not long ago The Cedar installed a movie screen behind its concert stage. Some memorable screenings have already taken place. But what else might happen? The possibilities include such vivid experiences as some of my favorite music and movie memories. There are many, but I’ll share my nearly top ten with you.
No. 1: Silent films with live music
a. The Bill Frisell trio plays alongside three Buster Keaton films. A perfect match, and I leave the Northrop with a new favorite moviemaker and a new favorite musician. A night fantastic that wouldn’t have happened at home.
b. Electropolis plays Metropolis, pre-Halloween 2006. This one at The Cedar with a temporary screen. I am not familiar with either attraction, but the billing has a ring to it: Electropolis plays Metropolis. Completely mesmerizing. Does one watch the band or the movie? One thing is for certain: the film will never be as good without the intensity brought to it by this music.
No. 2: Films which clearly have a soundtrack written for them, rather than songs selected in order to sell tickets and/or CDs. Using The Cedar’s state-of-the-art sound system to its full potential
A prime example is Dead Man. As William Blake journeys in the Old West with Nobody, Neil Young conjures spirits, fits the violent landscape of rock & scrub, water & air, tree & cloud, man & gun, with sonic guitar. The music is not background; it is vital.
No. 3: Excursions into music found outside the U.S.
a. Genghis Blues follows American bluesman Paul Pena into Tuva, where he takes part in a throat-singing competition, and where he experiences the culture from which this style of singing comes. Two cultures meet, and everyone is better for it.
b. Screaming Masterpiece dives into the invigorating landscape of Iceland and its music. It feels like the music is drawn from the landscape, is a part of the landscape; and as you watch, so are you.
No. 4: Concert movies
I never saw the Talking Heads live, but that thought never crossed my mind while watching Stop Making Sense. As David Byrne in Big Suit runs around the stage, my friend runs around the theater seats. It was Uptown and midnight, so no one stopped him.
No. 5: A look at musicians and/or times no longer around
a. Straight No Chaser. Thelonious Monk: Intensity, hands, sweat, timing, manic mannerisms, mental state, playing style. Seeing and hearing the man behind the wondrous crazy music makes it all the more wondrously crazy.
b. Dont Look Back. It feels like you are watching a young Dylan evolve on camera, creating himself in music and words, whether off-the-cuff remarks to reporters and others, or lyrics sung to audiences. This is a crucial look at a moment now past, yet still here.
No. 6: Discovering musicians you’ve never heard of
Through the library, I request a film by director Jem Cohen, only because he has worked with a favorite of mine, Vic Chesnutt. I get Benjamin Smoke. Absolutely fascinating. An intimate look at the life and pain and music of this fragile and captivating man, now gone; rarely have I been so moved watching a film. I am ready to visit Cabbagetown, Georgia, and to hunt up a Smoke CD.
So, Cedar, go on, put up the movies and music. Play us some variations to enchant eyes and ears, minds and souls. Yes. Yes, yes, yes.
But wait! Could it be true? A pairing of music and movies that The Cedar really is bringing to you and soon!
Strange Powers: The story of Stephin Merritt and The Magnetic Fields on The Cedar’s big screen in November. Two showings: 7 and 9 p.m. You can watch a sneak preview of the film here: http://www.youtube.com/watch?v=HkzB789GTes&feature=player_embedded
Bill Frisell
Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. Later, Bill studied music at the University of Northern Colorado before attending Berklee College of Music in Boston where he studied with John Damian, Herb Pomeroy and Michael Gibbs. In 1978, Frisell moved for a year to Belgium where he concentrated on writing music. In this period, he toured with Michael Gibbs and first recorded with German bassist Eberhard Weber. Bill moved to the New York City area in 1979 and stayed until 1989. He now lives in Seattle.
