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Film Music 1998-2001

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Avis sur l’album

Wayne Horvitz decided to scramble the tracks on this collection, taking pieces from different film projects and sequencing them out of order to make an album of stand-alone music. The effect is simply stunning, as Horvitz pulls the works from their original contexts and births a whole new beast in the process. The conceptual shifts seem random at first but unfold with an appealing aesthetic coherence. Within the first four tracks alone (there are 47 in all), Horvitz moves from eerie samples to mellow acoustic to hip-hop to early jazz. (Bill Frisell, DJ Logic, Julian Priester, Michael Bisio, and the members of Zony Mash are among the supporting musicians.) As the disc plays, patterns begin to emerge and the specific character of each film project becomes clearer. In addition to music for Gary Gibson's Chihuly Over Venice and an untitled film by Gus Van Sant, Horvitz includes four pieces composed for a Frank Gehry exhibit, six from a project called "Bellagio," and three intriguing demos. Tracks 30 through 47 depart from the rest of the program by presenting, in one continuous block, music conceived for Charlie Chaplin's The Circus, performed live by the Seattle Chamber Players. ~ David R. Adler, Rovi

Biographie

Né(e) : 1 septembre 1955 à New York, NY

Genre : Jazz

Années d’activité : '70s, '80s, '90s, '00s, '10s

Wayne Horvitz took piano lessons briefly as a child. At 13, he received a few classical guitar lessons; he found the style unsuitable and quit. A year later, influenced by the records of blues pianist Otis Spann, he took up the piano again. From that point, he was largely self-taught. Horvitz made a name for himself in the '80s by playing with some of the leading lights on the downtown New York-based experimental/improv scene, including Bobby Previte, Butch Morris, Fred Frith, Elliott Sharp, and...
Biographie complète
Film Music 1998-2001, Wayne Horvitz
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