ESMERALDA

(Original Motion Picture Soundtrack)

ESMERALDA

(Original Motion Picture Soundtrack)

Director Samantha Orozco

Music by: Alejandro Karo & Mayra Lepró

Label Plaza Mayor Company Ltd

Premiere Festival Aix en Provence (France) 30 November

As composers is a privilege to give music to a story, so deep and beautiful as “Esmeralda”.

In this project we had the opportunity to use new tools and a different approach as a team where the final result was a hybrid score with acoustic and electronic elements.

We want to thank director Samantha Orozco and producer/co-director Francisco Mochmar for giving us their trust to tell this story.

Alejandro Karo & Mayra Lepró

1. Novias Elegantes

2. Su Recuerdo

3. Arturo

4. Esmeralda

5. Boda Y Funeral

6. El Eterno Enamorado

7. Volverla A Perder

8. Epitafio

THE GRAVEDIGGER’S WIFE

Original Motion Picture Soundtrack

THE GRAVEDIGGER’S WIFE

Original Motion Picture Soundtrack

Director Khadar Ahmed

Music by Andre Matthias

Label Plaza Mayor Company Ltd

Selection Cannes, Toronto, London BFI, Hamburg, Sydney…

Fespaco Festival Awards

Nomination AMAA – Oscar’s

In times of misfortune, Guled hand his family have to push themselves to the limits in order to reunite with their family.

Guled and Nasra are a loving couple, living in the outskirts of Djibouti city with their teenage son Mahad. However, they are facing difficult times: Nasra: urgently needs an expensive operation to treat chronic kidney disease. Guled is already working hard as a gravedigger to make ends meet: how will they find the money to save Nasra and can they keep the family together?

“For Khadar Ayderus Ahmed’s tender story about love and hope my goal was to create an intimate score built around solo instruments and voices. Yet I did not want the vocals to sound “sung“ but rather to add a human sound that did not draw attention to itself. So even though much of the music features vocals it does not necessarily feel that way.

While “The Gravedigger’s Wife“ is basically a monothematic score (the lines and harmonies of the main theme are interwoven into almost every track) the scene in which Guled and Nasra tell their story called for a new theme. In the film it appears only once, but I incorporated it into my unused end credit music for this album to end their story fittingly.
It has been a privilege and a pleasure to be part of this beautiful film. Many thanks to Khadar and everyone who made this journey possible.”

Andre Matthias – composer

  • 01 – Walking Home – 03:07
  • 02 – Guled – 02:31
  • 03 – The Journey Begins – 03:28
  • 04 – The Village – 01:43
  • 05 – Nasra – 04:07
  • 06 – The Long Walk – 03:46
  • 07 – A Stone on His Heart – 03:15
  • 08 – Mahad – 01:30
  • 09 – Their Story – 03:03
  • 10 – Village Council – 02:25
  • 11 – Guled’s Decision – 04:53
  • 12 – The End of the Journey – 04:07

BOB TINKER & FRIENDS

Album “JAZZ AROUND THE PERCHE”

BOB TINKER & FRIENDS

Album “JAZZ AROUND THE PERCHE”

Label Plaza Mayor Company Ltd

Gauloises, frenchies ….and Jazz Around the Perche

After growing in Kent, which can be seen as the British equivalent to French Perche – some very green bush with hills, horseshit and a seashore not too far – Bob Tinker has been teaching in Southtampton and Truro. This is what Frenchies call eating your brown bread after you’ve had the white one. Especially when you think Bob has also lived in Hong Kong and Japan, just like any MI 6 agent, blowing his horn happily before he ended up in that rural area, smoking frogs, eating Gauloises and swallowing red burgundy like beer while hosting  thunderous cats in his jazz venue, but always with empathic class.

An enthusiastic be-and post-bop fan, Bob has imagine this release around some cool and hot Miles repertoire, as well as stuff from other relevant players in that exciting idiom that survived many generations, before and after hip hop.

The quartet and quintet line-ups he gathered are accomplishing that tribute purpose with some timeless elegance. Produced by basssit Jose Fallot, the album gently spreads over and further post war jazz by bluing the notes and our ears with tasty harmonies and explosive or retained swing. If jazz consists in always renewing our perception of famous tunes, here is some rewriting of pages we could have thought they had said everything. It’s a whole gallery of our imaginary musical museum that is exposed from track to track, but without any stone graving, better with the contemporary lightning of a Pei pyramid like in that city not far from Perche they call Paris

Line up: Bob Tinker (tp, fr.h), Bruno Pilloix (sx), Jean-Jacques Ruhlmann (sx), Ivan Chavez (elg), Olivier Hutman (k), José Fallot (elb), Eric Capitaine (dms), Etienne Brachet (dms).

  • 01 – Freddie The Freeloader
  • 02 – Boby And Soul
  • 03 – On Green Dolphin Street
  • 04 – Flamenco Sketches
  • 05 – I Mean You
  • 06 – My Funny Valentine
  • 07 – Footprints
  • 08 – When Sunny Gets Blues
  • 09 – Little Sun Flower
  • 10 – Yarbird Suite
  • 11 – Duet Improt BJ

LA MANCHA NEGRA (Original Motion Picture Soundtrack)

LA MANCHA NEGRA (Original Motion Picture Soundtrack)

Director Enrique Garcia

Music composed by Jesús Calderón

Performed by the “Banda Sinfónica de Jaén” orchestra, conducted by Pedro López Álvarez and Jesús Calderón in Jaén (Spain)

Label Plaza Mayor Company Ltd

After the death of the elderly Matilde Cisneros, her three daughters set the wake before a neighbor that turns its back on them, a priest in war with the family, and the unexpected arrival of his eldest son.

COMPOSER NOTES

From the beginning, I conceived the soundtrack of “La Mancha Negra” as rough and wild music, a reflection of the feelings of the characters, who are tormented in a very visceral and primitive way. The mother of the family, for example, with her brief but crucial role, continues thanks to the music to constantly float over the whole story like a ghost that haunts and envelops everyone with her sickly and greedy personality until the end. “La Mancha Negra” is made of rough percussions, repetitive motifs, dissonances … but there is also a place for hope, nostalgia, memory and regret; that materializes through the music for Mercedes, which transforms from atonality to become a melodic poem that reunites her siblings again. I have to thank the effort and passion of the musicians of the “Banda Sinfónica de Jaén” orchestra, who put all their effort and enthusiasm in interpreting my twisted music, and Pedro López for his mastery and professionalism. Thanks also to Enrique García, director of the film, for his eternal confidence and infectious enthusiasm. This soundtrack would not have been the same without his wise advice and his knowledge of the power of film music.

(Jesús Calderón, composer of “La Mancha Negra” soundtrack)

DIRECTOR NOTES

The trip to the devised town of Aljarria in “La Mancha Negra” is a journey to the roots of pain of a family broken by the past, in a harsh environment, where hopelessness reigns and where, after the death of Doña Matilde Cisneros, resentment and greed emerges. Photographically portraying “La Mancha Negra” was a difficult but very plastic task: The days with yellow sand floors, white houses, blue skies, women in black mourning and heat, a lot of heat. The nights give way to the blue of the moon, the gold of the lamps and the black night, as if they were paintings by Caravaggio. The music could not be under that black cloak. Thanks to the interpretation of the “Banda Sinfónica de Jaén” and the masterful score by Jesús Calderón, I have been able to hear the broken soul of the Cisneros family based on double basses, the awakening of greed with insinuating flutes, percussions, pizzicatos and brass for the nightmares that become real. And the love that existed and died like a dry olive tree in the “Nana de la Negra Noche” song, composed by Calderón for the broken and at the same time authentic voice of Zenobia Fernández. Thank you, Maestro Jesús Calderón for giving eternal life to the soul of “La Mancha Negra”.

(Enrique Garcia, director and screenwriter of “La Mancha Negra”)

Orquestaciones: Pablo Olivas Marco

Ingeniero de sonido: Rafa Martos

Banda sonora mezclada y editada por Jesús Calderón

Canción “Nana de la Negra Noche”

Escrita y producida por Jesús Calderón

Interpretada por Zenobia Fernández

Fotos de la grabación: Gabriela Cerdán Cerdá

Fotografía de estudio: Fidel Meneses

Diseño de portada: Pedro Cabañas

DRACULA ON HOLIDAY

(Original Motion Picture Soundtrack)

DRACULA ON HOLIDAY

(Original Motion Picture Soundtrack)

Director Robbie Moffat

Music by Pascal Isnard & William Marx

Label Plaza Mayor Company Ltd

Traveling from Transylvania to Scotland by train, the Count’s two companions Lucy and Renfield start on a series of changes in order to get the Count over his many fears – sunlight, crosses, bibles, running water, garlic, food and drink. Dracula chose Scotland for his holiday because he wanted to visit his maker Bram Stoker’s Castle, which he regards as rightfully his own. Once there he is befriended by two local undertakers Goddaming and Stewart who live in a castle, they attempt to socialize and fit in. Godalming’s teenage daughter Flora is attracted to them and admits that she would like to be a vampire.

The Count and Lucy are smitten by her and crave for a daughter of their own. When Stewart’s new wife also turns out to be a vampire, and the undertaker business is booming, the happy band of dead and near-dead can’t help but take advantage of Goddaming and Stewart’s hospitality. This arrangement is delightfully comic in the way it unfolds. When it is not clear that Dracula could ever be reformed from his bloodletting ways, Lucy makes plans to marry Dracula with the hope that his reformation will occur when he settles down into married life or so she thinks. A comic tale for Halloween and beyond into the nether realms of Dracula’s alternative abode. Rather than making Dracula a type of ‘baddie’, this film takes a jovial view of the comedy genre and his character. It is therefore in some ways a relief from the heavy overtones of the serious ‘Horror’ Film and something that will make people leave the cinema with a smile.

FABIO ABATE – Album “A Km 0”

FABIO ABATE – Album “A Km 0”

Italian Pop…

Label Plaza Mayor Company Ltd

Cd Digital & Cd Physical

“A km 0”, meaning “made at a distance of zero km”, or “zero miles recording” is the title of the new album by the Sicilian singer-songwriter Fabio Abate.

An intense musical journey that arises during the lock down period. An artisan laboratory work wanted and conceived by the singer-songwriter himself who made use of the “Km 0” rules to make it happen.

Recording live in the habitat of his own house and his personal studio, without the help of large recording studios, Fabio Abate conceives this project that ranges from electro-pop to traditional sounds, from the typical ballads of his style to the dream stories of his repertoire.

Ten unpublished songs, with an international flavor, in some of them Fabio often betrays his Sicilian origin also in the dialect and in another – sung in English – he reveals his boundless artistic nature

Fabio Abate is a singer-songwriter, artistic producer and composer from Catania.

In 2010 he released the album “Itinerario precario (Precarious Itinerary)” for Carmen Consoli’s Narciso Records, for which he was also the author. One of the songs written by Fabio, “Senza farsi male (Without getting hurt)”, was included in the soundtrack of the film “L’uomo che ama (The man who loves)” by Maria Sole Tognazzi and received

a nomination for the Nastri d’Argento and the David di Donatello as best original song.

In 2020 on the occasion of Salvatore Adamo’s 60-year career, Fabio Abate sang together with Adamo himself and Riccardo Cocciante, Morgan and other artists the song “La notte”, to remember one of the most famous songs of the Italian song that has sold over 100,000,000 copies worldwide.

  • 01 – Plastica
  • 02 – L’abitudine
  • 03 – E intanto immaginavo
  • 04 – Valentina
  • 05 – Come ti Vorrei
  • 06 – Agatina
  • 07 – Ah che bella giornata
  • 08 – Il serio del twist
  • 09 – Come le stelle
  • 10 – Isa li manu

BLUE EYES – OCCHI BLU

(Original Motion Picture Soundtrack)

BLUE EYES – OCCHI BLU

(Original Motion Picture Soundtrack)

Director Michela Cescon

Music by Andrea Farri

Featuring Paolo Fresu & Luigi Piovano

Label Plaza Mayor Company Ltd

Tormina Festival Italy – Uk Cinema …………

A lone robber, riding a different maxi scooter each time, robs one bank and a jewelry store after another, squeaking at great speed through the folds of Rome, between its ancient beauties and its urban archaeologists, always managing to sow its pursuers and finally vanish into nothingness.

The case is in the hands of a Roman commissioner, true and cynical who, failing to get to the head of it, asks for help from a friend of his Parisians, called the French, a former commissioner famous for his psychological insight and for resolving dozens of impossible cases. Everyone except for the death of their daughter, whose anniversary she returns to the city every year. He will discover the identity of the robber, a person who is as unsuspected as he is of great intelligence, with whom he engages in a challenge with unpredictable consequences.

Statement By Michela Cescon, Director

        “Blue Eyes” experiments with genre in this personal rendition and tribute to the French Polar film. It is light on dialogue, heavy on atmosphere, with melancholy, romantic characters: two police chiefs, one robber, a scooter, a young mechanic… and the city. Rome and the waves of traffic coursing through its streets and the solitary, empty nights between Rome’s Pyramid, white as the moon, and the Coliseum at dawn keeping watch over challenges and revenge.

        There are no landscape shots. Each frame tells the story through the emotions they elicit. Indoor shots are minimalist. The architecture furnishes the places, playing with space and light. Much is understood about each character as they move through these intentionally empty spaces. The film was shot in wide-angle – typical of this genre – using CinemaScope, which provides depth and makes it necessary to choose certain points of view. In “Blue Eyes” we don’t need to see everything, just what helps create the story. Cinema is also about what you choose not to show. The photography is so “material” – emphasizing contrasts, details and distances – you can almost touch it.

Right from the beginning, the robber and her city are accompanied by the sound of a trumpet playing. The music, like all the sounds in the film, is very important, it moves the story forward, narrates, acts as a bridge for emotions. Then it stops, it’s gone, just like the robber, and as we await the ending, we are immersed in the smoky atmospheres of jazz and summer dreams to the sounds of swing.

        Genre films need talent because they follow the rules and techniques specific to filmmaking. A lot of talent went into the making of this film, from the actresses and actors Valeria Golino, Jean-Hugues Anglade and Ivano De Matteo, to Director of Photography Matteo Cocco, to composer Andrea Farri and his extraordinary soloists Paolo Fresu and Luigi Piovano, to Esmè Sciaroni, Grazia Materia, Fabrizio Nanni, Luca Servino and Filippo Porcari. All of them were asked to think of this film as a game, with the most serious attitude possible, and gracefully employ a style somewhere between a detective film and noir in order to understand the world and say something about ourselves.

NOUS SOMMES EN GUERRE (Original Series Soundtrack)

NOUS SOMMES EN GUERRE (Original Series Soundtrack)

Director Emmanuel Fricero

Music by Franck Ancelin

Label Plaza Mayor Company Ltd

Stella doesn’t believe in the Coronavirus. For her, it’s a manipulation by the state. But Covie-19 will catch up to her sooner than she thinks and will push her towards a drastic change of heart: if we change, the world change…

Emmanuel Fricero (Réalisateur): Je collabore avec Franck Ancelin depuis 2008. Il m’a paru évident de lui confier la création musicale de la série “Nous Sommes en Guerre” pour lui conférer cette atmosphère anxiogène, confinée puis libératrice que je recherchais. 

Franck Ancelin (Compositeur): Emmanuel m’expose ses envies, l’histoire et l’univers de la série afin de dégager une ligne directrice qui donnera le ton. Ce Coronavirus est vraiment quelque chose de dramatique, au même titre que les maladies qui ont marqué les siècles passés. Je cherchais un doux mélange entre le déjà vécu (le passé), et ce que nous vivons (le présent). Si vous êtes attentifs à l’écoute de cette Bande Originale, vous entendrez sur tous les morceaux un léger effet de grésillement vinyle/radio comme à l’époque tel un message du passé. Je trouvais l’idée intéressante, cet effet est discret et suggéré puisqu’on l’entend de manière inconsciente. Pour moi, la musique de film doit faire parler les émotions.

MARIO HOFFMAN & MANOUCHKA MEYER

Album “MANOUCHKA”

Gypsy time…

GYPSY TIME….

A journey into the eternal Gypsy soul through words and music.

A journey around a known and unknown world.

Mario Hoffman: Thanks to his father, from an early age he became acquainted

With the chords, the famous guitarist, DJANGO REINHARDT.

His mother sings, and he often accompanies her at a very young age

On the terraces of the cafes.

Mario is a singular artist, self-taught.

Today he tells himself that the time has come to sing in the languages of his origins, it is a real renaissance that is offered to him.

Manouchka Meyer: During his adolescence, Manouchka lived in a low-rent housing in the Paris region

Often in the evening when she walked her dog, she went to visit the travelers, so she discovered around their campfire, the first chords

Gypsy music.

Compositeur : Mario Hoffman

Auteurs : Mario Hoffman, Pascale Meyer

Arrangeur : Mario Hoffman

Arrangeur du titre Manouchka : Igor Rover

Drums : Jean Phillipe Motte

Violon : Nadine Collon , Iréne Ficher

Violoncelle : Mathilde Sternat

Contrebasse : Jean Marc Dauvergne

Accordeon : Laurent Derache

Clarinette : Sylvain Hamel

Guitare : Mario Hoffman

01 – Choun Man – 03:53
02 – Latcho drom – 03:47

03 – Pushka – 04:04

04 – Chpilo Gaiga – 07:16

05 – Diklo Weiss – 04:18

06- Ethmol – 02:55

07 – Manouchka – 05:26

08 – N’im Mur Léva – 03:15
09 – Narta an trin dives – 03 :31

Génération Kalach: La face cachée des cités

(Bande Originale du Documentaire)

Génération Kalach: La face cachée des cités

(Bande Originale du Documentaire)

Realisateur : Jerome Pierrat

Musique de Maximilien Mathevon

Label Plaza Mayor Company Ltd

RMC Story Mercredi 29 Septembre – a 21 :05

The documentary “Generation Kalach: la face cachée des cités” looks at the new generations of gangsters and traffickers from the suburbs, very organized and more violent.

The music, like the documentary, is dark and desperate, using twisted and distorted electronic tones, out of tune piano and all manner of synthetic textures. But sometimes a little glimmer of hope crosses it …

The music, like the documentary, is dark and desperate, using twisted and distorted electronic tones, out of tune piano and all manner of synthetic textures. But sometimes a little glimmer of hope crosses it …

The album is a “concept album”, with a theme and three long suites, the last of which, Dronescape, intended as immersive, unfolds these textures for 20 minutes.

  • 01 – Generation Kalach
  • 02 – Chroniques du crimes
  • 03 – Consequences du crime
  • 04 – Dronescape