Richard has a look at the new movies coming to theatres, including Tim Burton’s flying elephant epic “Dumbo,” the terrorism drama “Hotel Mumbai,” Tantoo Cardinal’s “Falls Around Her” and “Blue Note Records: Beyond the Notes” by Swiss film-maker Sophie Huber, a deep dive into the history of the storied label with CFRA Morning Rush host Bill Carroll.
Think Blue Note Records and several things come to mind. First the music. From the angular melodic twists of Thelonious Monk, John Coltrane’s free jazz to later, the smooth sounds of Norah Jones, Blue Note has been at the forefront jazz for decades.
Secondly, the album covers. Designed by graphic artist Reid Miles, they were striking pieces of pop art that mixed photography and graphics in an eye-catching way that was almost as influential to design as the music contained within was to the world of jazz.
A new documentary, “Blue Note Records: Beyond the Notes” by Swiss film-maker Sophie Huber, does a deep dive into the history of the storied label.
Co-founded in 1939 by German immigrants Alfred Lion and Francis Wolff, Blue Note Records began life almost as a hobby for its and jazz fan founders. Early success with “hot” jazz and boogie woogie led to the more challenging harmonic sounds of bebop and hard bop during the label’s heyday.
Telling the story are luminaries like early sound engineer Rudy Van Gelder and musicians Herbie Hancock and Wayne Shorter who praise Lion and Wolff for not only guiding careers but treating the musicians with respect, both musically and financially. Younger performers like Terrace Martin and A Tribe Called Quest’s Ali Shaheed Muhammad speak to the label’s influence on hip hop and beyond.
Cramming 80 years of history into ninety minutes means big chunks of the label’s history are ignored or given a short shrift. Well-known names like Monk and Coltrane, for instance, eat up a substantial amount of screen time while legendary saxophonist Ornette Coleman gets barely a mention. Still, despite the film’s omissions, Huber has assembled a loving history of a cultural touchstone, ripe with wonderful music, archival footage and photography, that vividly bring to life the label’s influence on the way we listen to music.
Welcome to the House of Crouse. Is the saxophone a cursed instrument? Does its smooth and seductive sound drive people mad? Larry Weinstein thinks so and has made a fascinating film about it called The Devil’s Horn. We talk about the yakety sax history of the instrument and Craig Davidson swings by to chat about his new memoir Precious Cargo. Join us! Sit a spell!
The sexy and seductive sound of the saxophone is as close to the cooing voice of a loved one is any instrument can be. Yet, for that very reason the instrument has had a long and storied past ripe with more intrigue than any James Patterson thriller. In the new documentary The Devil’s Horn director Larry Weinstein walks us through the sax’s wild, woolly and supposedly cursed history.
“It is one of these things where truth is stranger than fiction,” he says. “Certainly the life of [inventor] Adolphe Sax is terribly bizarre. From the near deaths he had as a child to the jealousy of instrument makers who actually tried to kill him, twice, and burn down his factory, it looks entirely fictionalized but everything we say about him is true. Then he got this cancerous growth that was so large he couldn’t eat or drink or breathe. By the time he was ready to come back to work his patents had run out. He died in total poverty.”
The idea of the cursed instrument seems to have originated with its inventor. “Adolphe Sax himself had this dream that devils with saxophones were pulling people to hell.”
The movie describes how sax icons Charlie ‘Bird’ Parker, John Coltrane and many other players of the “devil’s instrument” battled heroin addiction, creating sounds so carnal and voluptuous they were outlawed by everyone from the Nazis (who banned the sax from the Earth) to the Vatican. Movie studios barred it from soundtracks and it put the sex in sex, drugs and rock n’ roll.
“I always thought when they talked about it sounding like a human voice they meant the timbre of the saxophone. Like the human voice the sax has alto, tenor, soprano and bass, but I think it also has to do with the fact that it can bend and growl, that it can moan and weave around seductively. Also, you can play with so little air it can whisper but it can also scream and be much louder than most of the other brass instruments.”
Of course the horn and its players aren’t truly cursed but Weinstein says, “other instrumentalists have those problems and they exist in classical music too, but for some reason not to the extent that saxophonists have suffered.”
Using a mix of archival footage and new interviews with musicians like Colin Stetson and Giuseppi Logan, Weinstein gets past that catchy concept to make a compelling case for the sax as more than a symbol of depravity and immorality and Mr. Sax as “one of the greatest geniuses in the history of music.”
“The problem with the saxophone is you pick it up, blow into it and there is a beautiful rich sound right away. Adolphe Sax made it so people who can’t play well, sound good. That’s the genius of the guy. All other instruments evolved out of other instruments. This guy, in about 1840 said, ‘I want to make an instrument with this sound and I’m going to have to make it brass and give it the mouthpiece of a clarinet and the fingerboard of a flute.’ And he invented it. Most people if they looked at an 1846 saxophone they would think it looked like a modern saxophone and the sound is almost the same.”
Richard and “Canada AM” host Marci Ien talk about the weekend’s big releases, the pomp and circumstance of “The Huntsman: Winter’s War,” the Tom Hanks dramedy “A Hologram for The King,” Sally Field in “Hello, My Name is Doris” and the sexy sax sounds of “The Devil’s Horn.”
Everybody loves the sound of the saxophone. Smooth and sexy, it is as close to the cooing voice of a loved one is any instrument can be. Yet, for that very reason the instrument has had a long and storied past complete with more intrigue than an Agatha Christie thriller. In “The Devil’s Horn” director Larry Weinstein walks us through the wild and woolly history of the saxophone.
The premise of the film is simple. The sax is a cursed instrument that dooms its players to lives of torment and despair.
Sounds outrageous doesn’t it? Consider the evidence.
The sax’s inventor Adolphe Sax dodged death at least seven times, barely escaped at least one known assassination attempt, went bankrupt three times fighting with his rivals, developed lip cancer and died penniless.
Sax icons Charlie ‘Bird’ Parker, John Coltrane and many other players of the devil’s instrument battled heroin addiction, creating sounds so carnal and voluptuous they were outlawed by everyone from the Nazis (who banned the sax from the Earth) to the Vatican. Movie studios barred it from soundtracks and it put the sex in sex, drugs and rock n’ roll.
Of course the instrument isn’t cursed. Once Weinstein gets past that catchy concept he makes a compelling case for the sax as more than a symbol of depravity and immorality. Using a mix of archival footage and new interviews with musicians like Colin Stetson, Jimmy Heath and Giuseppi Logan, he reveals not only the wild past of the instrument, but it’s importance in the future of music as well.