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

THE KLYMA – Album “ASIA”

Single’s – No Shelter – Tokyo – Better – Bali Guide

The new Pop duet…

Label Plaza Mayor Company Ltd

Distribution Sergent Major Company Ltd

The Orchard – Sony Music

Cd Digital – Cd Physical

How was THE KLYMA project born? The Klyma was born from the idea of Daniele Sorrentino (singer, musician and songwriter) and Tiberio Gracco (author and musician) to start a new project after several years of cover interpretations by artists such as Ed Sheeran, Coldplay, James Morrison, Tracy Chapman, Sam Smith, John Mayer … Many satisfactions for a project (called Young History) of published music including: over 200 events between public and private in about 2 years, over 20 million plays on streaming platforms and compliments from national and international artists . The idea of continuing to cover covers was beginning to become uninspiring, so after years, the idea of undertaking an ambitious project full of obstacles developed. The idea of writing unreleased songs was very stimulating, especially if the influences were the same as they had been carrying in their luggage for years.

Musical imprint of THE KLYMA The musical imprint of the project is constantly evolving, and this is demonstrated by the fact that all the songs, in the beginning, were in guitar and voice, or in piano and voice, therefore UNPLUGGED. The influence in the melodies is given by the artists who have marked the era covers of Daniele and Tiberio such as: John Mayer, Sam Smith, John Legend, Coldplay, Ed Sheeran, Shawn Mendes … and many others. The first album has a bare character, poorly constructed, very free both at the musical level and at the level of lyrics. The clean sounds of acoustic guitars and pianos stand out, and from time to time we listen to some acoustic or electronic percussion, and some electric guitar. In the second album we have a complete transformation of the project, which while maintaining a pure identity, this is “dirtied” by oriental sounds, string quartets, samples, and sounds generated with objects. Much of this research derives from the passion that both components of the project (Daniele and Tiberio) have for the East, and in particular Japan. Tokyo is the emblem of the album, a mix of pop and Japanese culture, with sounds that emulate the instruments of that culture, and a blend of clean, dirty and trap voices (as we see in the finale). The message in a musical key is to bring a non-genre genre to Italy and the world, where every idea is put into action, then freed by a splendid violin solo in the final part of the song. Thanks go to Andrea Gargioni and Gennaro Franco, who are the actual arrangers of the album, but the contribution of Michele Vitiello (a young talent in the world of piano) and Angelo Iossa (who oversaw the vocal department) should not be forgotten. In the songs we are working on in addition to the guitars (main instrument) and the piano we have added a quartet of strings, percussion, drums and bass An evolution in writing and arrangements is clearly visible.

UN TRIOMPHE / THE BIG HIT (Bande Originale du Film)

Plaza Mayor Company présente la bande originale de la comédie française Un triomphe. L’album contient la musique composée par Fred Avril et la chanson de Nina Simone, I Wish I Knew How It would feel to be Free.

Un triomphe est réalisé par Emmanuel Courcol avec Kad Merad, David Ayala, Lamine Cissokho, Pierre Lottin, Wabinlé Nabié, Sofian Khammes, Alexandre Medvedev, Saïd Benchnafa, Marina Hands et Laurent Stocker.
Sélection officielle, festival de cannes 2020
Prix du public et meilleur acteur, festival d’angoulême 2020 Prix Comedy European Awards

I started the composition in Montmartre, Paris exactly at the beginning of the French lockdown, so i was watching people in prison, myself being locked in, which was so weird and inspiring. Emmanuel Courcol’s scenario is also very deep AND entertaining, which is so rare. But the first musical ideas came from the metal I saw inside the jailhouse. I imagined the noise that would make high bars resonating endlessly under the blows of the prisoners seeking evasion through music, tapping rhythms in the background etc, and that was the start. I opted for a prepared piano, a piano where many objects obstruct/change the resonance. I made it resonate even more, thanks to the GRM Tools (French contemporary art foundation) then dosed the use: more on large shots, less on intimate shots outside the jail. Later, because of Covid, the shooting of a series was postponed (and so was” Un Triomphe” theatrical release in France), so I had a few weeks free and decided to write and record a few additional variations of “Un Triomphe” themes to upgrade this record, and here it is.

FRED AVRIL

“Dans Un triomphe les lieux, les situations, les émotions alternent et s’opposent de façon très contrastée : dedans et dehors, enfermement et liberté, euphorie et déprime, gloire et anonymat, ombre et lumière… Je souhaitais que la BO traduise ces oppositions tranchées nées de la confrontation du monde carcéral au monde théâtral, explore leur frontière. Je voulais que l’univers sonore de la prison, les parcours fracassés des prisonniers, l’énergie en dent de scie et le caractère obsessionnel d’Etienne soient source d’inspiration. Surtout qu’aucun pathos musical ne vienne surligner notre émotion. Rien d’illustratif ni de facile, mais du nerveux, de l’étonnant, à l’instar du montage. Toutes ces intentions parfois confuses ont rencontré Fred, sa créativité, son originalité, sa finesse, son talent. C’était une belle rencontre.”

EMMANUEL COURCOL

GIL FOURNY – Album “Music”

World orchestral music

Multi Awards Nominee

Award Winner

An instrumental solo album recognizable among a thousand!

Gil Fourny is an entire artist performing his work with classical orchestral atmospheres. He is an outstanding solo guitarist, able to play crazy phrases, melancholy, nuances.

An unique universe of emotions.

Great artists influenced him, spoke to him emotionally and pushed him to do his best, not to mention his boundless passion to create his own compositions in his studio, inspired by the “Progressive Symphonic Rock”.

  • 01 – Europa (Carlos Santana) – 04:12
  • 02 – Celtic Game (Gil Fourny) – 04:43
  • 03 – Monsieur Jack (Gil Fourny) – 03 :22
  • 04 – Amazing Grace (William Walker) – 03:52
  • 05 – Desert Crossing (Gil Fourny) – 05:28
  • 06 – Sabre Dance (Aram Khatchatourian) – 03 :40
  • 07 – Unchained Melody (Alex North) – 04:11
  • 08 – Silence is Gold (Gil Fourny) – 05:25
  • 09 – The White Castle (Gil Fourny) – 03:09
  • 10 – Asturias (Isaac Albeniz) – 03:46

CD Physical Edition Limited https://www.sergentmajorcompany.com/music-shop/gil-fourny-music

Jose Fallot – Album “Another Romantic #4”

A new Jazz Romantic signature…

Jose Fallot – Album “Another Romantic #4”

A new Jazz Romantic signature…

Label Plaza Mayor Company Ltd

Distribution The Orchard-Sony Music

Plutôt qu’un amoureux romantique de plus, José Fallot m’est toujours apparu comme un dur.

Dur et patient comme un félin, un varan qui aurait des feulements lyrique, une hydre à dix casquettes, une panthère, une libellule. Capable d’épauler l’un et l’autre à droite, à gauche, de leur procurer de l’emploi sur des grilles standard ou maison dans ses programmations aux formations multiples. Ou de leur offrir en taulier des lignes et des masses sonores plus exigeantes, conçues la nuit à la torche Wonder dans sa cave, tout en skypant des patrons de clubs. 

Qu’il soit ou non largement reconnu pour cela est superflu, qu’il vénère Abba, les Beatles, Miles ou Coltrane, totalement indifférent. Qu’il soit un enfant de Steps plus que de Weather, d’Ellington, de Petrucciani ou de Smith et Wesson, quelle importance? Trop efficace et trop modeste pour briller, ce type est un music lover, un connaisseur et un aficionado, je ne vois pas que conclure d’autre à l’écoute de ce nouvel opus. Accessoirement, un passionné des fréquences basses, voire un compositeur sérieux et un variant réjouissant du hipster morne et abscons pour cercles confinés. Bonheur rare dont il ne faudra pas manquer les apparitions lors de la réanimation générale des scènes et des caves. Abstraction faite si possible des préjugés encore en cours dans certains systèmes auditifs locaux et de la configuration rigide des doigts de pied qui s’y attachent, si ces notions se révèlent maintenues dans le monde d’après.

Bernard Ivain

Un éternel romantique nous revient avec un 4e opus. Une belle série jazz de sonorités fraiches et un vrai amoureux que nous reconnaissons avec plaisir en temps de franches inquiétudes. Le jazz de Jose Fallot, se chante, se balance et se murmure comme un parfum d’avant l’été, comme un regard nonchalant. C’est un amoureux éperdu de larges espaces et de montagnes et sa musique est un champ joyeux jamais ennuyeux. Jazz et solos se succèdent indéfiniment mais ici les solos répétitifs ont laissés la place une intelligente forme astrale d’instruments a vents et de basses romantiques.

Jazz oui, mais un jazz diffèrent, heureux et pétillants comme un deconfine qui retrouve sa première terrasse. Un premier cafe, un premier regard… un premier rendez vous amoureux…. Et nous somme au 4e rendez-vous amoureux !!!

Hellen Page

  • 01 – Minor Circle
  • 02 – Sides
  • 03 – The Way
  • 04 – Joyeux Rameur
  • 05 – Annecity Blues
  • 06 – Escape
  • 07 – Blues in 8 to 12
  • 08 – Arsenic Blues
  • 09 – What’s Your Game
  • 10 – The Way They Show Us
  • 11 – When I’m 64

INSIGHT (Original Motion Picture Soundtrack)

INSIGHT (Original Motion Picture Soundtrack)

Director Ken Zheng, Livi Zheng

Music by Sid De La Cruz

Label Plaza Mayor Company Ltd

Jian (Ken Zheng) is a counter terrorism agent who blends his skills as a martial artist and clairvoyant to bring the world’s most nefarious individuals to justice. This lone wolf is is forced to make an unexpected detour to Los Angeles upon receipt of the devastating news of a cover up surrounding his brother’s alleged suicide. With the reluctant help of LAPD detectives, Abby (Madeline Zima), Carl (Tony Todd), and Captain Duke (Keith David), the unlikely group become involved in the investigation. Jian and Abby fight against a high-tech criminal (Sean Patrick Flanery) looking to exploit the brother’s gifts in his own quest to power.

Les musiques de film d’action sont difficiles et souvent se borne a de l’habillage. Il y a eu les grands James Bond, dont on ne retient que le thème d’entrée et de fermeture de Lalo Shiffrin, il y a de grand absent, car c’est une musique qui épouse l’image a défaut d’épouser la musique elle-même. Le cinéma américain est exigeant et des compositeurs exige plus du Sound Design que du contenu mélodique. Il est un des compositeurs qui s’exerce au style avec panache : Sid de la Cruz. Dans une modestie qui n’appartient qu’a lieu, Sid est un de ces fabricant de magie et d’intemporalité. Sur le film INSIGHT, il a eu le courage du thème original, la palette du design et le regard de construire une bande originale, digne de ce nom. Il y a de la recherche, de l’innovation, les sounds, les thèmes. Sid De La Cruz a mis beaucoup de lui-même pour trouver le bon ton, le bon son.
Ecoutez et re écoutez Insight.
Hellen Page

Director’s Statement on Insight’s Original Soundtrack  

Statement from Livi Zheng & Ken Zheng Insight is a movie that includes several different cultures and also a story with elements of science fiction.  Therefore, it was impossible to imagine Insight without interweaving several different genres and categories of music. The instrumentals that augmented Insight’s story were heavy on electronic synths, strings, brass and percussion. I choose these musical scores to fit with the diverse martial arts styles of action scenes.  We even used special compositions to highlight our use of drones and other modern weapons as props in the movie. In the Warehouse Fight Club scene, staged in an underground caged fight in China, the music not only included the strings and brass but also the Guzheng, a traditional Chinese instrument.  In theJian in Syria scenewe used instruments such as the Qanun, Riq, Darbuka, & Zil to reflect the local culture of the scene while remaining authentic. The soundtrack of Insight matches these scenes of the movie as an audio and visual is a journey through the world.

Sid De La Cruz, Composer

The score for Insight was fun to create. It’s a hybrid of orchestral and synth instruments. This is a bit different from my other scores in that it was requested not to use any woodwinds. Also, there were some cues where high strings were not used as well. I had to be creative and think of other ways to approach the music. Because the film deals with an element of science fiction, I feel that electronic instruments suit the film very well and help tell the story from the side of science fiction. Several of the cues tie in with photography of the film. For instance, in the track, “Apartment Fight”, some of the fighting leads to the kitchen. In the score, there are metallic instruments that help simulate kitchenware, pots, pans, silverware, etc. In the track, “Jian in Syria”, uses Middle Eastern melodic and percussive instruments are introduced and take and help contribute to the action music.

LAZBIZI – Album “All the Time”

Extrait “Holiday”

Dancehall Sound and Soul…

Label Plaza Mayor Company Ltd

Show Boy Lazbizi est un artiste et auteur-compositeur afro/pop nigérian. Connue pour son afro/fusion afro/classique afro/dancehall sound, sa musique a attiré quelques collaborations internationales à travers …

Lazbizi, comme un torrent de rythme et de mots, comme un volcan d’energie. C’est du sur mesure, du parfait langage, ca danse, ca bouge. Du naturel et rien que du naturel. Ca pourrait etre une pub pour une Ong ecolo, ca pourrait etre un slogan politique, tellement ca deborde du cadre music – image … C’est tout cela a la fois et c’est une boule de feu qui s’incruste dans le ventre et des refrains qui font mouche.

Ecouter, tomber dans le felling fievreux d’un regard

Hellen Page

“All the Time” – Track List

  • 01 – Yum – Yum
  • 02 – No Sitting Down
  • 03 – Try
  • 04 – Different
  • 05 – How Many Times
  • 06 – Mama Africa
  • 07 – Your Love
  • 08 – Ready
  • 09 – River Flow
  • 10 – My Girl