Pollock


Unitone Recordings (613702530128)
映画 | 発売日: 13/02/2001 | 映画のリリース: 2000 | フォーマット: CD
 

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# トラック アーティスト/作曲家 期間
1.Alone In A Crowd2:14
2.Beauty From Pain1:55
3.One Man Show2:02
4.The Window1:37
5.Stroke Of Genius3:57
6.Plant Your Garden2:12
7.Stroke By Stroke2:45
8.Breaking The Rules2:27
9.Art Of This Century1:04
10.The Look2:45
11.A Life's Work1:27
12.Empty2:42
13.A Letter From Lee1:52
14.The World Keeps TurningTom Waits4:14
15.Unfinished4:08
16.The Mural Goes On & On (The Mural Remix)2:41
17.She Played The Banjo (Main Title Remix)4:31
 44:33
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Pollock - 08/10 - その改訂 Tom Daish, 提出された (英語)
Every once in a while you receive something out of the blue about which you know nothing about and written by a composer about whom you know nothing about. Pollock fits both of those completely. In fact, I had to do a double take to check that it didn't say John Beal (the trailer guy) on the packaging. I must confess total ignorance toward Jeff Beal who has very kindly and unexpectedly sent me a review copy. Beal's background is in jazz, but actor/director/producer Ed Harris felt his style of writing would be perfect to convey the energy of painter Jackson Pollock in this biopic. Harris evidently has an extremely keen ear.

I suppose the best description would be to call it minimalist jazz, although I'm sure that's not quite right. There are definitely elements of minimalism, with the ticking rhythms that run through almost every track which are more often than not, set in counterpoint to a slower melody, often on high strings. I suppose as a description this doesn't sound very innovative, but it's not quite like anything I've heard. Where Nyman or Glass can chug away and become a little stodgy, Beal keeps the pace light and in the more upbeat sections, often just bubbling below totally euphoric. I know little about Jackson Pollock as a person (perhaps I should see the film to become a little more enlightened - it has certainly garnered some good reviews), but the inserts showing scenes from the film feature his paintings (or copies thereof) and it looks familiar. He painted on large canvases on the floor with an almost reckless abandon, even though the final result still has form and structure. Evidently, Beal was attempting to somewhat mirror this in the music in as much that the ideas seem to fly along slightly haphazardly, but form a satisfying result.

Most of the tracks have at least some element of the sprightly minimalist, but there are a few more subdued moments. The quiet trumpet at the beginning of Stroke of Genius being particularly noteworthy. The album gives special thanks to Mark Isham (film composer, but also jazz trumpeter), but doesn't specifically mention if it is his playing that graces the album. The Look has a more introspective Thomas Newman style piano, together with what sounds like a very subtle sustained synth pad in the background. Even this soon breaks into arpeggios and a last minute quiet burst of energy. There are some more aggressive tracks, A Life's Work has a much darker tint to the harmonies and a much more decisive urgency, but the flow and feel of the score is not lost. This marks something of a turning point after which the mood sours and the introspection increases, but the writing is no less attractive. The only low spot is Tom Waits' The World Keeps Turning. Now I know I like Randy Newman and can appreciate his less that perfect singing, but unfortunately Tom Waits' very low, gravel over hot coals voice spoils a wonderful song, such a shame.

I suspect that many people will pass this album up, but it's one of the most interesting albums to pass my way in ages. Without wishing to become too much of a broken record, small arty (lame, unintended pun), talky and personal films like this aren't too difficult to score, but are difficult to score well, let alone well enough to result in such an interesting album. However, Jeff Beal has evidently identified with Ed Harris' film and the character of Pollock and translated it beautifully into musical terms. Given some of the classic scores that have been composed for biopics of great artists (North's The Agony and the Ecstasy and Rozsa's Lust for Life about Van Gogh), it's pleasing that the tradition is being carried on. A million miles away from both North and Rozsa in style, but for a more contemporary artist, a perfect accompaniment and a superb album.


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