Michael Bonner reminds us in an article published July 21 in the British magazine Uncut, the second part of 2014 will be full of movie releases. In particular musical documentary, dedicated to icons of internationally popular music, but also more “experimental” projects, which cast a look back on the musical heritage of the past fifty years. For lovers of rock, are announced two events in particular: the Jimi Hendrix biopic, titled “All Is By My Side”, and “20,000 Days On Earth”, docu-drama focuses on a day in the life of Australian singer-songwriter Nick Cave. In the latter partecipate, as well as Cave, his most trusted collaborators, with whom he has shared stages around the world: from Warren Ellis – the Australian bearded violinist, founder of the band Dirty Three and a member of the Bad Seeds and Grinderman , the two bands that have been working in recent years, both in the studio and live, with Nick Cave – to Blixa Bargeld (German singer and guitarist, who was also with the Bad Seeds), actor Ray Winstone in Kilye Minogue (the last dueled with Cave in “Where the wild roses grow”, the 1997 song content in the album Murder Ballads).
For those who want to go a little ‘more, we point out “Hustlers Convention”, the documentary on the disc of 1973 written by Jalal Nuriddin, a founding member of the Last Poets, a group of poets and musicians born in the sixties and engaged in the vindication of African-Americans civil rights. As fans of the genre know, most of the lyrics are about drugs, social exclusion, gambling and, in general, of what it means to live in a ghetto (which reflected the condition of blacks in America in those years).
To conclude, what the readers of these pages appreciate most certainly will be “The 78 Project”, a documentary, but mostly an experiment to see some young researchers (Alex Steyermark and Lavinia Jones Wright) retrace many of the places reached by Alan Lomax during his research in the United States and recording contemporary musicians with equipment of the thirties. The result is very convincing, insofar as it gives us the chance to observe an unusual comparison between musicians and old technology, but also because, in addition to reconnect the experience of Lomax with our contemporary, “locates” interesting music and artists, otherwise difficult to listen.
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