William Friedkin was an extraordinary film director. The French Connection (1971) is one of my favorite movies and Sorcerer (1977) and To Live and Die in L.A. (1985) are […]
Read morePrime Cuts #5: To Live and Die in L.A. & Weekend
Category: Prime Cuts
Prime Cuts #4: “Love Power Peace” (Polydor, 1992), James Brown
This series of essays, that explore the ideas of sequencing and montage between two pieces of recorded music or two film scenes, continues with another one of my favorite albums: […]
Read morePrime Cuts #3: “Sans Soleil” (Argos Films: 1983), directed by Chris Marker.
In the Prime Cuts essays so far I’ve focused on music and how two tracks on an album placed back-to-back can impact each other (Abide With Me and Well You […]
Read morePrime Cuts #2: “Money Jungle” (Originally issued on LP by United Artists Jazz, 1963; reissued on LP by Blue Note, 1986, first reissue on CD, 1987, corrected reissue on CD, 2002), Duke Ellington.
This is the second in a series of essays that are meant to explore the impact two pieces of music can have when lined up back-to-back on an album, and […]
Read morePrime Cuts #1: “Monk’s Music” (Riverside, 1957), Thelonious Monk
I thought it would be interesting to start a series of write-ups about specific aspects of recordings that I find remarkable, also regarding cinema. After seeing the new […]
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