Cassavetes et le jazz

 

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Cassavetes et le jazz 

John Cassavetes et le jazz

Message par Patlotch le Lun 12 Aoû 2013

Tout en rappelant l'existence d'un coffret de 5 films de John Cassavetes (Shadows - Faces - Une femme sous influence - Meutre d'un bookmaker chinois - Opening Night) pour quelque 65 à 90 €, soulignons l'importance que le jazz avait pour lui, non seulement comme musique, comme musique présente dans ses films, mais surtout pour sa valeur paradigmatique d'art de l'improvisation, qui est le propre de sa manière de filmer.

Shadows est triplement dans le sujet, histoire d'un jazzman, musique de Charlie Mingus, film "improvisé"... Une critique > http://www.critikat.com/Shadows.html

Quelques extraits

Leia y el jazz > http://www.youtube.com/watch?v=O7TbZSI6F_M
Lelia, a Sweet Riot > http://www.youtube.com/watch?v=lc8vn4L0hiw
Jazz Musician > http://www.tcm.com/mediaroom/video/350169/Shadows-Movie-Clip-Jazz-Musician.html
Ben y sus amigos en el > http://www.youtube.com/watch?v=RLXYK5URNJM
Yo fui a la universidad > http://www.youtube.com/watch?v=oCXgrBYyXs8

etc. > http://www.google.fr/webhp?hl=fr#bav=on.2,or.r_qf.&ei=ABwJUsWuDueq0QWpuYHADg&fp=1d845cc5b1b2394d&hl=fr&ie=UTF-8&q=john+cassavetes+jazz+shadows&sa=N&tab=wv&tbm=vid&um=1

À signaler aussi, Maurice Darmon, Pour John Cassavetes, suivi de John Cassavetes, le jazz et la question de l’improvisation par Philippe Méziat, Éditions Le Temps qu'il fait , 19x14 cm ; 161 p. ; 17 € ; Isbn : 978-2- 86853-552-8 ; avril 2011. Philippe Méziat, critique à Jazz Magazine, Les Cahiers du jazz...
> http://ecla.aquitaine.fr/Ecla/Lettres-et-Images-d-Aquitaine/Notes-de-lecture/Pour-John-Cassavetes-Suivi-de-John-Cassavetes-le-jazz-et-la-question-de-l-improvisation-par-Philippe-Meziat-editions-Le-Temps-qu-il-fait


Charles Mingus at the recording session for Shadows.
Image courtesy photographer Marvin Lichtner.


Témoignage (source)

« Stop Smiling: What was Charlie Mingus’ role in the soundtrack for Shadows?

Al Ruban: Mingus worked on a score, but he was more organized than John wanted. And I don’t think that was apparent to John at the beginning. He did all this music, and John loved it, but he really wanted control. John needed to improvise some things because he couldn’t communicate what he wanted to get across.

Seymour Cassel: Remember Charlie’s place? Three cats and all his sheet music and stuff. He was always writing. He played at the Five Spot, he played at Birdland.

SS: So who did the saxophone work that’s in the film?

AR: Shafi Hadi, who had recently been released from prison. John got him to do some saxophone solos. I remember how they recorded them. John would act out everything, and in the sound booth, Shafi tried to interpret on his saxophone what John was emotionally telling him to do. He behaved with Shafi in a very emotional way, didn’t explain anything, just acted it out. John would be on the floor, jumping around. And it worked very well, because you hear a lot of it in the film. Unfortunately, Shafi died at an early age, but he was a very, very good saxophonist.
»
Message par ptilou le Mar 13 Aoû 2013
Grand cinéaste en effet et style d'écriture donnant l'impression de l'impro...