Fantômas and Musical Journeys

I consider James Blackshaw one of the most talented musicians I have ever come across. I have written about him before and the growth he has exhibited, from records featuring just him and his acoustic 12-string to more sonically complicated records involving keys and strings.

His latest record continues that journey forward and see him stepping not only into the role of player but as composer. Fantômas: Le Faux Magistrat was recorded live at the Théâtre du Châlet in Paris on Halloween 2013. In celebration of the 100th anniversary of the Fantômas silent film series, directed by Frenchman Louis Feuillade, composer Yann Tiersen was asked to run the score and accompanying live performances for screenings of the five films. For the final film, Le Faux Magistrat, he asked Blackshaw. And this record is a document of that performance.

It features Blackshaw on his usual nylon string guitar as well as the grand piano. For this he is joined by Charlotte Glasson, Duane Pitre, and Simon Scott playing assortments of guitars, saxophones, flutes, violins, electronics and percussion instruments.

I confess I don't know anything about any of these films or people, except for Blackshaw. His name on the record's spine is what got it into the shopping basket (virtually, of course). But I know interesting music when I hear it. The images on the record hint at a dark, noir-ish endeavor. The music is equally foreboding and lovely. It is broken into 13 pieces and spread over 2 LPs.

For me it is a real listening experience. Four great musicians playing live to a film involves a tremendous amount of skill. Especially when they are rotating from instrument to instrument. It is hard to image that 4 people could pull this off so well. A sinister piano melody is augmented by a dark, almost sleazy saxophone in one of the opening pieces, which will give way to a lovely 12-string figure, soon augmented by a haunting violin and vibraphone. It doesn't deserve to be background music. With so much going on it's worth the listener's effort to apply themselves to the music.

I wouldn't dream of performing music like this, the meager talents I have do no begin to approach what is going on here. I appreciate it immensely. I appreciate the talent and the skill, both natural and that honed by years and years of practice, to make this as wondrous as it is.

Here is a link to Part VIII. For whatever reason the embed won't find it.

Impossible Truth

I am not alone in thinking it but I feel the guitar is the most expressive musical instrument besides the human voice. I've written before about my appreciation of guitar-based instrumental music, especially that done by Explosions In The Sky and by James Blackshaw. We can add a third brilliant artist: William Tyler.

Tyler comes from Nashville but Music Row doesn't rub off on his music. Like Blackshaw, he works at creating soundscapes driven by working through chords and progressions. Where Blackshaw uses the 12-string acoustic, Tyler uses both electric and acoustic. The results are often stunning. The songs are mostly just his guitar but a few tracks employ stand-up bass and horns to perfect effect.

His latest record is Impossible Truth. Though I sometimes rag on Pitchfork, they are a fantastic resource for finding new music; this record is yet another. It was on my Spotify playlist for a couple months before I decided it was an LP I needed to add to the collection.

I take back what I said about Nashville; there is a country-vibe that permeates the songs. Take the gorgeous "Cadillac Desert." It's eight minutes long here; give it at least a few.

There is a definite rustic element; I see a front-porch kind of thing in my mind's eye. Not just the beauty of the playing but the sophistication of the song is what draws you in. It is very difficult to make music like this that stays engaging. It's easy for it to become pretentious or meandering or down right boring.  Tyler doesn't do that. The music shimmers off the LP. This kind of stuff needs to float on the air, waft into your head and settle in. I listen and I feel I need to pat attention. Where is it going next? It has a basic structure that may be repetitive but it builds and builds and works itself around and takes new paths. It's perfect for late night driving or as I am wont to do lay back on the couch with the headphones pulling on a beer.

Thanks to William Tyler for a very beautiful record.

RIP Tommy Bolin

I saw a tweet from Glenn Hughes today. He is the bass player for Black Country Communion and spent some time in Deep Purple in the mid-to-late 1970s. His tweet was about his friend Tommy Bolin, who passed away 36 years ago today.

Tommy Bolin is one of those great guitarists who died way too soon (drug overdose) and only gets talked about in guitar magazines. He spent some time in bands like Zephyr before replacing the guy who replaced Joe Walsh in The James Gang. He only stuck around for two records before replacing Ritchie Blackmore in Deep Purple for the only non-RB record of Deep Purple that matters (that would be Come Taste The Band). Meanwhile he made two very cool solo records, Teaser and Private Eyes. Then in 1976 while on tour with Jeff Beck he was found dead in his hotel room. Drug overdose. He was 25.

That's "The Grind" from Teaser. If you listen to enough of his playing you appreciate what a great guitarist he was. You can't really shoe-horn him into a particular style. There's straight-ahead rock naturally but then there is a lot of jazzy stuff, some Spanish-style stuff.

He was a real talent who like many went away too soon. I was struck by Glenn Hughes' tweet because it seemed so heartfelt.