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Dave Douglas Keystone & Bill Morrison Spark of Being 2010-2011 architectuur theater dans muziek 2010-2011 blauwe zaal grote podia deSingel Desguinlei 25 / B-2018 Antwerpen ma vr 10 19 uur / za 16 19 uur DAVE DOUGLAS www.desingel.be [email protected] KEYSTONE T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 & BILL MORRISON SPARK OF BEING ZA 13 NOV 2010 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2010-2011 JAZZ @ THE MOVIES MATT DARRIAU’S PARADOX TRIO BATTLESHIP POTEMKIN WO 13 OKT 2010 DAVE DOUGLAS KEYSTONE & BILL MORRISON SPARK OF BEING ZA 13 NOV 2010 PETER VERMEERSCH & THE FLAT EARTH SOCIETY HEARSEE DO 24 FEB 2011 inleiding Hugo De Craen / 19.15 uur / blauwe foyer begin 20.00 uur einde omstreeks 21.40 uur tekst programmaboekje Didier Wijnants coördinatie programmaboekje deSingel & Diederik Verstraete DAVE DOUGLAS KEYSTONE & BILL MORRISON DAVE DOUGLAS trompet MARCUS STRICKLAND tenorsaxofoon DJ OLIVE turntables, laptop ADAM BENJAMIN piano BRAD JONES contrabas GENE LAKE percussie SPARK OF BEING FILMCONCERT gelieve uw GSM uit te schakelen De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … reageer betreffende het programma van deSingel met andere toeschouwers delen. & win Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Neemt u deel aan dit forum, dan maakt u meteen kans om tickets te winnen. Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 > www.tklavervier.be Grand café deSingel open alle dagen 9 > 24 uur informatie en reserveren +32 (0)3 237 71 00 www.grandcafedesingel.be drankjes / hapjes / snacks / uitgebreid tafelen Spark Of Being © Bill Morrison FRANKENSTEINS EXISTENTIËLE HORROR IN BEELD EN KLANK Bill Morrison (°1965) is een filmmaker, maar op een bepaalde manier is hij ook een filmarcheoloog. Morrison werkt immers met ‘found footage’, ar- chiefbeelden en ander gevonden beeldmateriaal. Al is hij niet meteen geïn- teresseerd om dat gevonden materiaal te bewaren voor het nageslacht. Nee, hij gaat ermee aan de slag zoals een sampler met muziekfragmenten werkt: hij bewerkt ze, hij plaatst fragmenten naast en over elkaar, hij laat details verdwijnen en verschijnen. Kortom: hij componeert met gevonden beeldmateriaal. Het resultaat is altijd fascinerend, maar ook altijd verwar- rend, zeker omdat zijn films geen evident narratief pad volgen. Als kijker moet je de beelden nemen zoals ze zijn en open staan voor de suggestie- ve kracht ervan, eerder dan voor een boodschap of verhalende betekenis. Aangevreten leven Morrisons bekendste film tot nu toe is ‘Decasia’ (2002), een meditatie over Spark Of Being © Bill Morrison de onvermijdelijkheid van verval en fysieke degradatie. Morrison: “We hebben allemaal spontaan de behoefte om dingen te maken die bedoeld zijn om te blijven bestaan. Maar dat is een illusie. Niets is voor de eeuwig- heid. Niet alleen onze creaties zullen geleidelijk verdwijnen, maar zelfs de mens zelf. Rond dat besef draait mijn film.” Het lijkt een erg pessimistisch verhaal, maar je moet het niet noodzakelijk zo negatief interpreteren. ‘Decasia’ is gemaakt met materiaal uit filmarchieven van onder andere het Museum of Modern Art. Veel van dat materiaal vertoont sporen van veroudering: beschadigingen van de pellicule, chemische degradatie van de beeldkristallen, sluiers van stof en vuil. Morrison stelt daarop scherp. Met computertools bewerkt en versterkt hij de beschadigingen tot er abstracte beelden overblijven. Gezichten vervagen, een glimlach vervelt tot een grimas, lichamen worden overspoeld door vretende druppels tot er iets als een Rorschachtest overblijft. Het is beklijvend en griezelig, maar ook bijzonder mooi. Existentiële horror Het thema van Morrisons nieuwste film, ‘Spark of Being’, is in zekere zin net het omgekeerde want het gaat over de creatie van leven. Het is een herinterpretatie van de oude Frankensteinmythe, het verhaal van de pro- fessor-fantast die er met zijn wetenschappelijke experimenten in slaagde om nieuw ‘menselijk’ leven te creëren op basis van stoffelijke overschot- ten, gehaald op begraafplaatsen. Maar ook dit verhaal bulkt natuurlijk niet Spark Of Being © Bill Morrison van het optimisme. De creatie van de professor blijkt immers een halve aangeleverde beeldmateriaal. mislukking. In de vele Frankensteinfilms is daar zelfs een karikatuur van Douglas en Morrison zien hun manier van werken als een soort metafoor gemaakt: het monster (vaak Frankenstein Junior genoemd) dwaalt voort- voor wat dokter Frankenstein deed: alles uit de kast halen om nieuw (maar durend rond als een zombie die zich in de mensenwereld niet staande kan onvolmaakt) leven te creëren. En geleidelijk zijn er enkele sterke ideeën houden. en werkwijzen uit gekristalliseerd. Een van de opvallendste elementen is Morrison liet zich echter niet verleiden om te werken op basis van die het gebruik van morsecode in de muziek. Morse is een uitvinding uit 1835, bekende films. Zij focussen immers te sterk op uiterlijke horror. dus ruwweg de periode waarin het boek van Shelley weerklank vond (de Morrison wilde terug naar de meer existentiële horror uit het oorspron- definitieve, herziene editie verscheen in 1831). Douglas gebruikt het vooral kelijke boek van Mary Shelley, de ‘gothic novel’ ‘Frankenstein. in het themanummer ‘Creature’, volgens hem het kernwoord van de hele The modern Prometheus’ uit 1818. In dat boek is het (naamloze) monster roman. ‘Creature’ vertaald in morse is ‘-.-. .-. .- - ..- .-. .’, meteen het ritmi- helemaal niet onbehouwen. Dat blijkt bijvoorbeeld uit zijn onberispelijke sche fundament van Douglas’ compositie. taalgebruik. Zoals wanneer hij zijn maker beschuldigt van nalatigheid: “Accursed creator! Why did you form a monster so hideous that even Een eigen leven voor de muziek You turned from me in disgust? Satan had his companions, fellow de- Met de methodes wordt echter soepel omgesprongen, wat noodzake- vils, to admire and encourage him, but I am solitary and abhorred.” lijk is om het kunstwerk tot leven te wekken. En geleidelijk zal de muziek zelfs nog een eigen leven gaan leiden. De première van ‘Spark of Being’ Muziek en film, film en muziek was in april 2010 aan de Stanford University. Nadien is een dvd gemaakt Dave Douglas, die werd uitgenodigd om de filmmuziek te verzorgen, met daarop een ‘gestolde’ versie van de muziek van Douglas, de officiële vertelt dat hij bij het lezen van die zinnen hevig moest lachen. “Ik vond dat soundtrack. Maar intussen gaat Douglas met Keystone op tournee om de bijzonder amusant, maar ik vond het ook belangrijk om de mythe beter te film live te begeleiden. Dat zorgt voor (beperkte) mutaties in de muziek. begrijpen. Shelley’s afzichtelijke creatuur had grondig inzicht in de filoso- Bovendien gaat de groep ook nog op tournee zonder de film. Dat geeft fie en de geschiedenis van zijn tijd. En hij sprak in prachtige Victoriaanse meer vrijheid, meer mogelijkheden om te improviseren en om de metho- volzinnen. Hij was dus geen arme sukkel, maar een gecultiveerd maar des en technieken puur vanuit muzikaal oogpunt verder te ontwikkelen. eenzaam wezen.” Helemaal in lijn daarmee heeft Douglas naast de officiële soundtrack Deze anekdote vertelt iets over het ontstaansproces van ‘Spark of Being’. intussen ook twee alternatieve versies op cd uitgebracht: een versie Van in het begin hebben filmmaker en componist intensief van gedachten getiteld ‘Expand’ met de muziek gespeeld los van de film (dus met meer gewisseld over de thematiek van de film. Ze hebben lectuur aan elkaar improvisatie en vrijheidsgraden) en een versie getiteld ‘Burst’ met bijko- doorgespeeld, gediscussieerd en gefilosofeerd, samen geleidelijk de con- mende muziek die niet in de film werd gebruikt. touren van de film vastgelegd. Die werkwijze lijkt sterk op de samenwer- king tussen choreograaf Alain Platel en componist Fabrizio Cassol, meer bepaald voor de productie ‘Pitié’. Morrison daarover: “Ik ken componisten die gewoon een klankband maken bij de beelden. Ook ik heb in dergelijke situaties gewerkt. Maar met Dave heb ik van in het begin voortdurend overlegd. Je kunt dus niet zeggen wat er nu eerst was: de film of de mu- ziek. Ze zijn samen gegroeid.” Morse Dat heeft trouwens tot grappige situaties geleid. Na de eerste brainstorm- sessies begonnen Douglas en Morrison materiaal uit te wisselen. De eerste beelden die Morrison doorspeelde, hadden echter op het eerste gezicht niets met Frankenstein te maken: alleen wriemelende wormen en andere akelig ogende dingen. Dat vonden de muzikanten van Douglas’ sextet Keystone, dat de muziek moest uitvoeren, nogal geschift. Omge- keerd kaatste Douglas soms muziek terug die haaks leek te staan op het Dave Douglas samenwerking met de legendarische drummer Roy Haynes. Marcus Jazzmuzikant Dave Douglas, twee keer genomineerd voor een Grammy, Strickland verwierf professionele en artistieke integriteit door ervaringen is zonder twijfel de meest karakteristieke en originele trompettist/ met Roy Haynes, Mos Def, Dave Douglas, Nicholas Payton, Jeff ‘Twain’ componist van zijn generatie. Vanuit zijn thuisbasis New York, waar hij Watts, Christian McBride, Charles Tolliver Big Band, Tom Harrell, Will sinds midden het midden van de jaren tachtig woont, oogst Douglas Calhoun, Lonnie Plaxico, The Carnegie Hall Big Band, The Mingus Band, succes zowel als trompettist, componist als ‘Jazz Artist of the Year’ van Village Vanguard Band, Milt Jackson Big Band en het Lincoln
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