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Eve's Bayou
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Composed and Produced by:
Terence Blanchard
Performed by:
The Utah Film Orchestra
Notable Solos by:
Edward Simon
Reginald Veal
Troy Davis
Don Vappie
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LABEL & RELEASE DATE
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ALBUM AVAILABILITY
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Regular U.S. release, and valued at a whopping $1 in 2006.
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AWARDS
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None.
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ALSO SEE
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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.
BUY IT
 | | 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.
Restrained, but beautiful, the music for Eve's
Bayou builds, more than anything else, a bridge between the Southern
Gothic sounds and those of the traditional orchestra that could define
any American family, regardless of race or region. Oddly romantic,
secretive, and mysterious, Blanchard knows this genre well, and the
authenticity of Blanchard's music is undeniable. The intimacy created by
the individual elements of the quartet is often accompanied by deep
rumblings of the full ensemble, constantly reminding of the ominous
actions within the story's family. In a few places, Blanchard allows the
ensemble's dark rumbling to explode, as in "Elzora and the Strange,"
with brutal force in the form of strong minor key progressions. Many of
these heightened cues include a wash of ethnic percussion along the folk
lines, turning over what sounds much like Craig Armstrong's brooding
line of writing for The Bone Collector and rooting it strongly in
the region. Where Blanchard really excels is in his ability to swing in
a few comedy and "spirit" cues, in which the quartet dances with delight
or a light woodwind bounces with Rachel Portman-like whimsy. Sparing
performances by a harmonica are mixed at a hazy distance, helping to
blur the distinctions in the film. The title theme has the solitude of
one of Elmer Bernstein's more intimate character themes, and while the
theme isn't a particular strong point in the score, its consistent
development through the different sections of the ensemble is
commendable. In "Mozelle in the Mirror," Blanchard allows the orchestra
to slowly overtake the quartet element in an extended interpretation of
the theme, and the simple harmonies in this cue are attractive and
classically informed. The overall impression that Blanchard leaves you
with in Eve's Bayou is one of somber, cultural elegance, and
while it may not be snazzy enough to capture your attention at first,
its long-lasting effect is gripping. A score album released a few months
after a widespread song album is still available (a decade later) at
incredible discount prices, and will not disappoint.
**** @Amazon.com: CD or
Download
EVES BIYOU
JESSICA LONDON - June 20, 2008, at 4:10 a.m. |
1 comment (2221 views) |
Soundtrack
Janet - April 10, 2006, at 12:05 p.m. |
1 comment (2296 views) |
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)
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• 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)
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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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