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Another Place Some Other Time

by Joe Chindamo

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Fargo 05:51
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Lujon 06:01
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Blood Simple 04:13

about

Needless to say, I love the Coen Brothers’ films. They are unique, mad, clever, profound, fun, sexy, urbane, moving, uncomfortable, effortless, complex, and without pretension. They are also accessible, not as a result of having been dumbed down mind you, but because they are driven by a powerful conviction and clarity of thought, wedded to a deftness of skill necessary to carry this through to the physical realm, where it all explodes in a thousand directions across the entire screen. These quirky, larger than life, quasi human animations explore, celebrate, lampoon and lament all the corners of the human condition in all its technicolour glory (and at times, gory).

The brothers entertain us and manage to get their rocks off as well. They understand that the audience should never be burdened with complex processes which underlie any great work. They are true virtuosi who make it all look easy, which takes real artistry: after all, any fool can make something simple look and sound difficult. J.S Bach wrote the most intricate music ever known, and with centuries of dust having settled, it can now be regarded as the most universally accessible.

The great late film composer Jerry Goldsmith (with whom I was fortunate enough to work on one film) once said that a good score never saved a bad picture, but a bad score often ruined a good one. I wholeheartedly agree, as I have sat down on many occasions to enjoy a good movie, only to have had the experience sabotaged by an inept soundtrack.

Just like Woody Allen, the Coen brothers got the music part of their film making right, whether by ordering tailor made music from their “house” composer Carter Burwell, or through the use of covers. The music is an integral part of their films, not splashed on as an afterthought, like aftershave lotion. Their music makes the films and the films make the music.

I find Mr. Burwell’s compositions moving, beautiful and attractive and his soundtracks are Americana personified - akin to a big Midwestern dinner party where Aaron Copland, Samuel Barber and a bunch of banjo picking
hillbillies are holding equal court.

And when we are not listening to Carter’s music, we are treated to a deliciously eclectic selection of covers, which work so well with the films that it is difficult to imagine a more apt choice. Film is such a unique medium for this. Where else could Dylan, Mancini, The Eagles, and Katchachurian share the stage so eloquently? Scorcese utilised this approach in Goodfellas, and of course, the technique was taken to dizzying heights in The Sopranos.

I sat down with my friends one night to watch Fargo, and as the opening titles unfolded, I was enjoying the experience so much, that in an instant, decided to record an album of Coen Brothers’ film music. It was as simple as that. I discussed the idea why my publisher and producer, Philip Mortlock, who responded by making it all happen.

Now that the what was settled, we had to decide on the how, who and when. The latter was relatively easy: I gave myself three weeks in which to conceptualise the project and write all the arrangements. I work well under pressure: in fact, if it weren’t for the last minute, my whole life wouldn’t happen.

Philip and I talked about lineup. Should we use an an orchestra or perhaps a trio? Even the idea of performing the lot on solo piano was canvassed. But the car chase scene in Raising Arizona settled the matter. This was
pure bluegrass, which is music I adore, but never had the nerve to perform. When I started working on ‘Ariziona’, I quickly realised that my bluegrass moment had finally arrived, and it excited me. My piano would become the banjo, and other instruments would double the piano or otherwise float the melody on top. Now, the choice of musicians with whom to record became easier.

I needed guys who could play everything, including bluegrass. Nigel was a must. As well as being a consummate violinist, he is a wonderful composer and arranger (and happens to be the Australian bluegrass champion at the time of writing). Doug DeVries is so good I don’t even send him the music anymore. He just arrives at the studio, and I hand it to him, smile, and say nothing. (By the way, there were no rehearsals for this recording. I generally avoid them whenever possible because they drain the life out of the music, and me. I usually send music to the musicians, and say, “see you on the day - it’ll be fun”).

I had entertained the idea of recording with Lucky Oceans since meeting him at the Fremantle Jazz Festival several years ago. The idea nestled itself comfortably in the back of my mind until recently, when a friend played the Dirt Music album and reminded me of this dormant wish. I’m so glad Lucky is on this - I love his playing, and as far as the instrument he’s mastered is concerned, in my next life I’m coming back as one of its most ardent practitioners.

The relentless Phil Rex - a powerhouse of a bassist, Alex Pertout, who is incapable of playing anything a millisecond to the left or the right of where it should be, and Rajiv Jayaweera, a sophisticated musician with the world still at his feet, make up the rhythm section.

Yamaha provided a concert grand, Joe Camilleri, the studio and house engineer Robin Mai.

And of course, I wouldn’t dream of going into the studio without my own engineer, Chris Corr. This guy is just brilliant and makes every recording session feel like home.

As for the music, this part was fairly straight forward. I picked my favourite covers, and changed them so that they can’t be referred to as covers anymore. Then there were the obvious film themes (Fargo, Raising Arizona) and the not so obvious ones (does anyone actually remember the theme of No Country For Old Men?)

I am proud of all my recordings and enjoyed producing all of them: this one was definitely the most fun...

- Joe Chindamo

credits

released April 24, 2010

Joe Chindamo - piano & accordian
Philip Rex - bass
Doug de Vries - guitars
Nigel MaClean - violin
Lucky Oceans - pedal steel & dobro
Rajiv Jayaweera - drums
Alex Pertout - percussion

Produced and arranged by Joe Chindamo
Recorded and mixed by Chris Corr
Recorded at Woodstock Studio, Melbourne
Assistant engineer Robin Mai
Piano Tuning by Brent Ottley
Mixed at Dex Audio

A Thirdman Production

Thank you to Yamaha Australia for providing the concert grand

Cover art by Peter Barrett

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Jazzhead Melbourne, Australia

The very best in Australian Jazz CDs. Jazzhead was established to release great new Australian Jazz in its various forms by Joe Camilleri and Andrew Walker. Concentrating on the progressive sounds of jazz while maintaining general accessibility.

From its inception, Jazzhead has pursued excellence in music and provided an outlet for great work of contemporary jazz.
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