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Show gimmicky and cliche it becomes background music that enhances the drama on the screen. Few are the times when one can extrapolate the music from the film and make sense of it as an orchestral work by itself without the visual stimulus. The etum of the King CD is that very music Granted, the music does in fad enhance the visual drama, but listening to the score by itself is as enthralling. There are several tracks that stand out as d orchestra works. The music in "The White Tree" track is propelled forward by quickly moving strings that lead to a huge climax utilizing the whole bsass section, splattered with the shimmering of a gong. Another track, "Minas Morgul utilizes the "dies irae or "day of wrath," theme (which comes from the Requiem Mass as early as thee 13th century). This theme is passed around and changed until it turns into the grotesque Uruk Hai theme in a driving 54 time signature. "Shelob's Lair is just plain creepy, with wailing strings sliding everywhere, doused with scraping pontfcello the quintessential thrilling sound we hear in Bernard Herrmann's scores of yesteryear. Of course, the great battle scene, "The Fields of Peiennor," utilizes the monstrous chorus and heroic theme that often accompany such pivotal moments in cinematography. Return of the King a bo features various vocal solos, including one sung by star Viggo Mortensen himself. The only concent I have with the soundtrack is the last track. Into the West, which features Annie Lennox. Why? I mean, she is straining her voice the whole time and the music doesn't even come close to the style and craftsmanship that Shore develops throughout U e soundtrack. It seems that they are trying to cut into the rot en pie of pop charts with the track. The soundtrack stands strong alone, using tenee" Remlng and James GaSway. Annie I rmox and the last track aren't necessary. i well-crafte- hured-mag.co- m hayleyrtd-mag.coaatamn9red-mag.costaffgrtd-tnag.co-m ch' irtia n frcd-mo- com ti cc cover continued from page paid off. Since the band skyrocketed to success with "Mr. Jones," a radio friendly cut from their 1993 debut, August and Everything After, Counting Crows has maintained a secure (albeit often low-profil- position in the contemporary music scene. 1996's Recovering the Satellites and 1999's This Desert Life enjoyed decent critical acclaim, but it was 2002's Hard Candy that put Counting Crows back on the map. In a rather bold move, the group included a cover of Joni Mitchell's "Big Yellow Taxi." According to the decision to tackle a Canadian icon occurred during the last few days of the Hard Candy recording sessions. Before breaking down the studio, they kept the engineer around and started tinkering with some covers. "It was a diverse collection of stuff and 'Big Yellow Taxi' just happened to be amongst the pile," 5 As a child in New Orleans, music surrounded Payton. His mother was an operatic singer and classical pianist and his father remains an accomplished bassist. Throughout his young years, Payton was exposed to a myriad of musicians and groups: Louis Armstrong, Scott 1 Run-DM- Now "Big Yellow Taxi" is all over heavily based on tradition, Payton bravely breaks the mold by composing without musical prejudice or pretense. This is plainly evident on Sonic Trance. Payton has embarked as far as anyone to genuinely push the boundaries of jazz. Some may say that Payton has gone too far and that the diversion from tradition is a bit hedonistic, but it is certainly clear that Payton can cook up a mean musical fied. jamiered-mag.co- PAYTON continued from page R3 everything I've lived from birth to now. I approached this album like cinema. Certain recurring melodies are like characters that appear and reappear in different incamations...one minute wholesome, the next evil. We go from rap to a tone poem on this album because that's how life can be. One minute we're involved in the most buffoonish of escapades and V M W M W M W M A Joplin, Stevie Wonder, Earth, Wind all of and Fire and even which had some effect on his style. Payton began performing at the age of 8 with his father and eventually moved on to study with jazz great Ellis Marsalis at the University of New Orleans. Sonic Trance is Payton's seventh album. The album features Kevin Hays on electric keyboards and piano, Vicente Archer on upright bass, Danny Sadownick on percussion and Karriem Riggins on sampler and synthesizer, as well as two members of his previous quintet, Tim Warfield on tenor and soprano saxophones and Adonis Rose on drums. In a musical world that seems the airwaves, and whether listeners adore or despise it, the cover is receiving significant attention. The same can be said for the band itself. Counting Crows keeps things just interesting enough to maintain a strong fan base. Even those who aren't especially keen on the band's sound can't deny the appeal of musicians who continue to play from the heart just as long as their stomachs are satis- Immergluck says. The impromptu jam session also included renditions of songs by Sparklehorse, Bob Dylan and Townes Van Zandt, among others. Although the songs were not recorded with the intention of producing a marketable product, the idea of selling the collection is a viable option. "I thought we were going to put it out at some point and still we might," Immergluck says. "It would be the sort of apocryphal IVtthout&OUgmg your Wallel ' the next, something beautiful." executives y last-minu- The commitment to live shows has 11 Full R3 Counting Crows release." Fans can base debates over the merits of such an album by listening to "Big Yellow Taxi," the only APT kin record-compan- deemed worthy of a position on Hard Candy. The addition resulted in a departure from the band's normal production process. First, the rough recording was handed to a producer for fine tuning. Once those refinements were made, the song returned to its creators for additional editing. "It became this 'Exquisite Corpse' of a recording, which is really cool," Immergluck says. "It's a totally different way of working than we've done with any other song or producer." A Mair' Box Office hayleyred-mag.co- irr? fifffif tr "CMfaafcfcw& CUAnLliUG" A Wad gumbo. Payton will be performing on Friday, Dec. 5, in the Olpin Union Ballroom General Admission ticket prices for Nicholas Payton and Sonic Trance are $25 for the general public and $8 for U students with valid ID. For more information please call w Magazine Scott Foundas, Variety Stonegrind Ski Tune X includes bass grind, edge and sharpen & bevel. P-- LOVE ( ( hot wax. J W 5 HAS 702 Third 601 Ave MET r 533-86- 71 ITS MATCH. 'A XX- Kevths rcrsey Pride & FreMic e ft'ietly"01" WoBl plan no iw ..,.,r (of your LE H?jis - ' - a EKE nrTie Tv SEATS HCNOt 83$ and fNTEtTANMfMT GJOUP mw! CAMFHA n umonr K0CXO0N w BfSTBOT Wm WWJSN p CAS0N s p AlOWCH y.m ktH HKX wrt usaohHtytrmmw pwwa.jtAUWTiM5WiGtn Bh.t- musc 8f N VANCf cojno.rsuwirnN PT.'nniMHMiiao m t Vtmt mm latter-da- y comedy tUW S ti IMVB GM nr.m tiwb WMR SHAnTkaXJMAI maxBttmnnaa reran vtW!wa . j mi www,PridePrejudics.com Excel fcundjoon i" v '' ' ii.r 1 : m i' : lit a 1 j u .17:1 1 i i' . 11 III - 7 .1 yi ISLiJi II IINIIII: : x' X, I. "i" I. ' . 1. urn. ,111' sviv.-i."- y 7 : iwiiiiiimiiiii j 1 II j . '17:11 . ll:!!lUH;,ii;i i 1 n 1 .."T- uiuii' iim III!' : , inn j (i i I i,,i V."' ,f z I RED Magazine December 4, 2003 R5 |
