This weekend my friends and I were lucky enough to see two “Essential Cinema” concerts and one screening/discussion with John Zorn at the Anthology Film Archives. Essential Cinema is what Zorn calls his concerts where he has a live band performing scores along with silent short films. I’d seen one of these concerts years ago at St. Ann’s Warehouse in Brooklyn, so I had a pretty good idea of what to expect going in.
The theater at the AFA was fairly small, and the band set up directly beneath the screen, in front of the seats. The front row of seats was roped off, so we sat in the second row (hoping for the best view of the band in a darkened theater, since we are much more live music junkies than we are film junkies). It turned out that the front row was blocked off so that Zorn could sit there and conduct the band (and occasionally play his saxophone) while still being able to see the film as it was playing on the screen. This worked out pretty well for us as we had a great view of the conductor as well as the dimly-lit band.
He asked us at the beginning to turn off and put away our phones and cameras and “pretend it’s 1958″ and enjoy the show. So: I have no pictures or Youtube videos to share with you! I wasn’t about to go against his explicitly stated wishes while sitting two feet away from him.
On the first night, they played scores for five short films. The films we saw did not completely match the program, but I believe it was Joseph Cornell’s “Rose Hobart” as well as “Collage No. 36″; Harry Smith’s “Oz, the Tin Woodman’s Dream”; Wallace Berman’s “Aleph”; and Maya Deren’s “Ritual in Transfigured Time.”
Two of the films (I believe it was the Cornell films) had scores very reminiscent of the Gift or the Dreamers material – the band consisted of Jamie Saft (keys, guitar), Shanir Blumenkranz (bass), Marc Ribot (guitar), Tim Keiper (drums), Cyro Baptista (percussion), Kenny Wollesen (vibes) and Ikue Mori on laptop/electronics. They had a very lush, exotic sound, mostly pretty smooth but with the occasional crescendo of intensity.
One of the films – Harry Smith’s, if my memory serves me correctly – had a soundtrack consisting entirely of (more…)