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Eve's Bayou
(1997)
Album Cover Art
Composed and Produced by:
Terence Blanchard

Performed by:
The Utah Film Orchestra

Notable Solos by:
Edward Simon
Reginald Veal
Troy Davis
Don Vappie
Labels Icon
LABEL & RELEASE DATE
Sonic Images Records
(November 18th, 1997)
Availability Icon
ALBUM AVAILABILITY
Regular U.S. release, and valued at a whopping $1 in 2006.
Awards
AWARDS
None.
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ALSO SEE




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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you're curious about Terence Blanchard's film scores and want to start with one of his most culturally precise and elegantly engaging entries.

Avoid it... if black, Southern Gothic sounds, and the jazz quartet at their center, hold no interest for you.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #947
WRITTEN 2/9/98, REVISED 3/12/06
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Blanchard
Blanchard
Eve's Bayou: (Terence Blanchard) It is rare for an outstanding treatment of a Southern Gothic film in Hollywood, but for the debut of its writer and director, Kasi Lemmons, Eve's Bayou was one such achievement. Critically praised across the board but unfortunately forgotten by the masses, Eve's Bayou tells of the history of a successful family in Louisiana in 1962, and the challenges they face within themselves and their relations, moreso than with the surrounding culture. The rich setting of the film beckons for repeat viewings, for its authenticity in capturing the universal essence of family regardless of race or location is remarkable. When attempting to think of a score that would be appropriate for the film, the name of internationally recognized black musician Terence Blanchard was mentioned, and his ability to write for the Lousiana setting from the heart was essential. When describing the score that she wanted for the film, Lemmons described the project as an "Epic Black Southern Gothic" and left Blanchard to fill in the blanks. It's a rather odd genre to compare to any other, for there are so few that exist in it. John Williams' score for Rosewood at about the same time required many of the same treatments on the serious side, but Eve's Bayou would deal with a more intimate (and upbeat) subject matter that happened to only overlap with the Williams' score in era and setting. Blanchard chose wisely when constructing his score; he began with a jazz quartet ensemble of piano, bass, guitar, drums, and mixed their regional folk and jazz performances with a traditional orchestra. A strong influence on Blanchard's score would be the shadowy photography of the film, in which even the sunniest of days has dark places of mystery both physical and metaphorical. This visual darkness parallels misinterpretations between characters, and Blanchard responds with an equally varied score.



Ratings Icon
VIEWER RATINGS
116 TOTAL VOTES
Average: 2.93 Stars
***** 23 5 Stars
**** 19 4 Stars
*** 27 3 Stars
** 22 2 Stars
* 25 1 Stars
  (View results for all titles)

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COMMENTS
3 TOTAL COMMENTS
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EVES BIYOU
JESSICA LONDON - June 20, 2008, at 4:10 a.m.
1 comment  (1522 views)
Eve's Bayou Soundtrack
Michelle - December 4, 2006, at 12:31 p.m.
1 comment  (2479 views)
Soundtrack
Janet - April 10, 2006, at 12:05 p.m.
1 comment  (1798 views)
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Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 52:50
• 1. Main Title (1:50)
• 2. Carriage House (2:04)
• 3. Cisely's Take (2:03)
• 4. Enter Mozelle's House (1:53)
• 5. Crossing that Bridge (1:08)
• 6. The House (2:58)
• 7. Mozelle in the Mirror (2:50)
• 8. The Bus (1:45)
• 9. Another Dead Snake (1:09)
• 10. Eve's Paradox (2:18)
• 11. Mozelle's Theme (2:30)
• 12. Goodnight Daddy (2:21)
• 13. Eve's Voodoo (1:31)
• 14. She's Barren (1:52)
• 15. Just Another Man (1:52)
• 16. We're Going to Elzora's House (2:14)
• 17. Elzora and the Stranger (0:58)
• 18. Cisely's Version (6:01)
• 19. Louis' Version (4:31)
• 20. Louis Dies (1:02)
• 21. The Funeral (1:05)
• 22. The Family (2:44)
• 23. Eve's Suite (4:13)

Notes Icon
NOTES AND QUOTES
The insert includes the following note about the score and film from director Kasi Lemmons:

    "I always knew that music would be an important character in Eve's Bayou. Even as I was writing the first draft, I imagined a score. The music in my head was epic, Romantic and Gothic, but with strong regional undertones.

    When Terence Blanchard's name was mentioned to compose the score, I was immediately interested. He is, of course, an internationally known musician, but he has also distinguished himself as a versatile composer of film scores. Because Terence is from Louisiana, it was clear that he related to the story and the characters when we talked. Not being musical at all I struggled for words to describe the score I imagined. I said something like "Epic Black Southern Gothic." I was relieved when he seemed to understand. Terence's idea was to use a jazz quartet (piano, bass, guitar, drums) along with the orchestra, mixing regional folk and jazz accents with traditional orchestration.

    When I first heard Terence's score, I burst into tears, as I did many times during the recording of it. While we were mixing the film, every time a cue came up that I particularly liked, I would announce excitedly, "This is my favorite cue," and everyone would agree, "Oh, yeah, mine too. It's incredible!" We said it so many times that it became a joke. I felt as if he eavesdropped on my soul, as I've often felt that my director of photography peers into my dreams. We were in love with the whole score.

    Each time I watch the film there are particular moments where the marriage of the music and picture makes me shiver. One such cue is "Mozelle in the Mirror." Mozelle is telling her niece, Eve, about a tragic night in her past when her lover came to the door of her house and confronted her husband with his love for her. As Mozelle tells the story, her memories become more vivid until Eve is able to see the fateful night reflected in a mirror. The cue starts simply with a beautiful romantic melody introduced by piano and clarinet. As Mozelle tells her story, the instrumentation builds gorgeously to full orchestra. I feel like Mozelle's whole life is captured in this one beautiful, passionate and tragic cue.

    Another one of my favorites is "We're Going To Elzora's." The child, Eve, has decided to take fate into her own hands to solve the problems in her family. She consults an eccentric voodoo practitioner named Elzora and is led down unknown bayou roads to Elzora's house in the swamps. The music brings to mind the classic tale of a child's adventure into an unknown land; conveying mystery and danger through the use of low strings, all the while expressing the innocence of a ten year old in the playful melody that is Eve's theme.

    The main theme of Eve's Bayou weaves through the drama seamlessly, sometimes epic and haunting, sometimes quiet and reflective and other times lush and romantic. It hints at secrets that can never be told and emotions that lurk beneath the surface.

    Mr. Blanchard's gorgeous score captures the essence of Eve's Bayou. It is as rich, darkly beautiful and mysterious as a bayou in a summer's moonlight. I hope you enjoy it."
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or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Eve's Bayou are Copyright © 1997, Sonic Images Records and cannot be redistributed without the label's expressed written consent. Page created 2/9/98 and last updated 3/12/06.
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