Cette page est imprimée depuis le site de Bruno Regnier
http://www.bruno-regnier.com

Les
ensembles

 
Accueil » Les ensembles » Ciné X'TET » The Mark of Zorro » The Mark of Zorro

The Mark of Zorro

Dernière modification le
06/01/11 à 16:29

Ciné X'TET / Bruno Regnier

After three projects around Buster Keaton «Steamboat Bill Jr.», «Sherlock Jr.» and «Buster's Shorts», Bruno Regnier and the Cine X'TET band confronts to a new genre, the swashbuckler, setting to music «The Mark of Zorro», film of 1920 in which Douglas Fairbanks leaves aside for the first time his character of urban playboy to take on a period costume and display his athletic feats as much as his physical attributes. Playing time: 1 hour 45
As for the music it vacillates between jazz and chamber music, in a climate where the references sustain the generous improvisation of the eight soloists.

Musiciens
Alain VANKENHOVE (trumpet), Matthias MAHLER (trombone), Vincent BOISSEAU & Olivier THEMINES (clarinets), Rémi DUMOULIN (tenor saxophone and clarinet), Jean-Baptiste REHAULT (saxophones), Pierre DURAND (guitar), Frédéric CHIFFOLEAU (string bass), Bruno REGNIER (compositions and direction).

Translation of an article by Jean Marc GELIN  www.lesdnj.com
Bruno Regnier, Ciné X'TET - la Marque de Zorro - le Balzac-Paris.

" When we came during the spring to listen to this new version of the Cine X'TET of Bruno Regnier around the famous version of the Mark of Zorro, film of 1920 with Douglas Fairbanks, we knew pretty much what to stick with. All the more so we already followed Bruno Regnier's work notably when we saw « Steamboat Junior » at the cinema "le Balzac" in Paris where Bruno Regnier has his regular admissions. Then I have written in other columns how much this musical approach to silent films which fits into a long tradition of jazz from Claude Bolling to Bill Frisell going through Dave Douglas (whose last of Keystone we recommend) was enjoyed without moderation, with or without images by the way. Because there it is the strength of Bruno Regnier: to stick close to the images in a clearly displayed will of expressivity but nevertheless permitting to turn one's back at leisure. When in his previous compositions, he took particular care to Buster Keaton's work, being part of the rhythm that the great comedian gives himself to images, here are the tricks of Douglas Fairbanks as crafty as charming and funny which are thrown light on by Bruno Regnier's writing in one of the rare moments where music succeeds gracefully to be at one with the film work. In this art Bruno Regnier showed us that he excelled. "