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Jim Jarmusch unedited
Read Alan Licht's full transcript from his Invisible Jukebox test with Jim Jarmusch
Boris with Keiji Haino's Black "From The Distance, With Their Own Gentle Eyes Always Fixed On Us, They Are Affectionately Gazing At the Black" from Implication Flooding (Inoxia, 1998)
Jim Jarmusch: This must be Boris, but I can't identify what track it is.
Alan Licht: It's them with Keiji Haino.
JJ: Yeah... it's beautiful. Their collaborations are beautiful, I love when they play with Michio Kurihara, the guitarist, it's fantastic. And what's really remarkable, I've seen Boris live a number of times, in fact I'm going to see them this weekend at All Tomorrow's Parties in Monticello, and when they play live they're in the mode, in a way, of jazz musicians, not structurally or musically but the way they listen to what the others are doing and build on it. Each time they play something it's obviously different, every time. But I really love how focused they are on what's happening, the landscapes they're creating.
AL: I know that you've been listening to this sort of thing for the last ten years, and I've heard that Earth's album Hex Or Printing In The Infernal Method was partially inspired by Neil Young's music for Dead Man...
JJ: Oh really, I didn't know that.
AL: So it's almost a -
JJ: - circular.
AL: - appreciation. And you used Sleep in the soundtrack to Broken Flowers.
JJ: Yes, part of Dopesmoker, or Jerusalem. Yeah, I love those guys, and Om is pretty interesting too. I've never Earth live, I guess it's hard to see them, they don't tour much - it's hard to see Sunn O))), but I've been able to see them a few times - but I love these kind of visual landscapes they make, and they really inspired things for me for my film The Limits of Control, cause when I write I'm listening to things that inspire me in the direction of whatever world I'm imagining. Boris, and Sunn O))), and Earth were really instrumental in me just finding a place in my head... but I've done that before, I've done that with RZA's instrumental tracks, and Neil Young.
I have a great quote from Boris, I was talking with them, they were on tour in the States, and they told me - they speak very little English - "We go from Chicago to Seatlle." I said, "Really, did you fly?" And they said, "No, we go by van." I said "How was the trip?", and then they said, "Ok, trip was, nothing, nothing, nothing, nothing, nothing, nothing, nothing, ROCKY MOUNTAINS!" (laughs) That was the description of their voyage.
Gavin Bryars "Tramp and Tom Waits with Full Orchestra" from Jesus Blood Never Failed Me Yet (Point Music, 1993)
JJ: Ok, well, it's Jesus Blood?, is this the Gavin Bryars version of Jesus Blood? Now, does this have a lot of permutations in the use of Jesus Blood?, cause I know Tom Waits was...
AL: This is that version, maybe you can't quite hear him yet.
JJ: Yeah. Beautiful. [as Waits' voice comes up in the mix] Beautiful mixture of those two voices.
AL: I was wondering if you knew this piece, since in The Limits of Control there's a lot of use of variation and repetition.
JJ: Yeah, but I think there are other versions, there's one without Tom Waits...
AL: Yeah, the original version was on Obscure, Brian Eno's label. That was only twenty minutes. The actual loop comes from a documentary film. Bryars used an excerpt of the hobo singing this hymn, and looped it, and every time it goes around he adds a little bit more instrumentation. In this version, it's already been going about an hour by the time Tom comes in.
JJ: I love this other Gavin Bryars piece, The Sinking of the Titanic. Since you brought up Eno, one thing on my film [TLOC] that helped me at times was the Oblique Strategies, and actually now my friend Carter has it now on an iPhone (AL laughs). Here's a few I got when I was making the film, cause I wrote them down: "Are these sections considered transitions?" "Emphasize repetitions." "Look closely at the most interesting details and amplify them." (laughs) Which is exactly what we were doing, so it was like reassurance, in a way. Those were really helpful to me, and they still are.
AL: Eno did Discreet Music, which used a loop also - one that was actually played at half-speed, which I know you did with Javenese gamelan music in Permanent Vacation.
JJ: Yes. You're one of two people that know that (laughter). I just read that those guys from Bang On A Can were doing live versions, with instruments, of Music for Airports, or some of those pieces that were purely tape generated. I heard it was beautiful, I want to see it. And I just got the re-release of Robert Fripp and Eno's No Pussyfooting, where they give you an extra disc where they just had the two tracks in reverse.
Jim Jarmusch: This must be Boris, but I can't identify what track it is.
Alan Licht: It's them with Keiji Haino.
JJ: Yeah... it's beautiful. Their collaborations are beautiful, I love when they play with Michio Kurihara, the guitarist, it's fantastic. And what's really remarkable, I've seen Boris live a number of times, in fact I'm going to see them this weekend at All Tomorrow's Parties in Monticello, and when they play live they're in the mode, in a way, of jazz musicians, not structurally or musically but the way they listen to what the others are doing and build on it. Each time they play something it's obviously different, every time. But I really love how focused they are on what's happening, the landscapes they're creating.
AL: I know that you've been listening to this sort of thing for the last ten years, and I've heard that Earth's album Hex Or Printing In The Infernal Method was partially inspired by Neil Young's music for Dead Man...
JJ: Oh really, I didn't know that.
AL: So it's almost a -
JJ: - circular.
AL: - appreciation. And you used Sleep in the soundtrack to Broken Flowers.
JJ: Yes, part of Dopesmoker, or Jerusalem. Yeah, I love those guys, and Om is pretty interesting too. I've never Earth live, I guess it's hard to see them, they don't tour much - it's hard to see Sunn O))), but I've been able to see them a few times - but I love these kind of visual landscapes they make, and they really inspired things for me for my film The Limits of Control, cause when I write I'm listening to things that inspire me in the direction of whatever world I'm imagining. Boris, and Sunn O))), and Earth were really instrumental in me just finding a place in my head... but I've done that before, I've done that with RZA's instrumental tracks, and Neil Young.
I have a great quote from Boris, I was talking with them, they were on tour in the States, and they told me - they speak very little English - "We go from Chicago to Seatlle." I said, "Really, did you fly?" And they said, "No, we go by van." I said "How was the trip?", and then they said, "Ok, trip was, nothing, nothing, nothing, nothing, nothing, nothing, nothing, ROCKY MOUNTAINS!" (laughs) That was the description of their voyage.
Gavin Bryars "Tramp and Tom Waits with Full Orchestra" from Jesus Blood Never Failed Me Yet (Point Music, 1993)
JJ: Ok, well, it's Jesus Blood?, is this the Gavin Bryars version of Jesus Blood? Now, does this have a lot of permutations in the use of Jesus Blood?, cause I know Tom Waits was...
AL: This is that version, maybe you can't quite hear him yet.
JJ: Yeah. Beautiful. [as Waits' voice comes up in the mix] Beautiful mixture of those two voices.
AL: I was wondering if you knew this piece, since in The Limits of Control there's a lot of use of variation and repetition.
JJ: Yeah, but I think there are other versions, there's one without Tom Waits...
AL: Yeah, the original version was on Obscure, Brian Eno's label. That was only twenty minutes. The actual loop comes from a documentary film. Bryars used an excerpt of the hobo singing this hymn, and looped it, and every time it goes around he adds a little bit more instrumentation. In this version, it's already been going about an hour by the time Tom comes in.
JJ: I love this other Gavin Bryars piece, The Sinking of the Titanic. Since you brought up Eno, one thing on my film [TLOC] that helped me at times was the Oblique Strategies, and actually now my friend Carter has it now on an iPhone (AL laughs). Here's a few I got when I was making the film, cause I wrote them down: "Are these sections considered transitions?" "Emphasize repetitions." "Look closely at the most interesting details and amplify them." (laughs) Which is exactly what we were doing, so it was like reassurance, in a way. Those were really helpful to me, and they still are.
AL: Eno did Discreet Music, which used a loop also - one that was actually played at half-speed, which I know you did with Javenese gamelan music in Permanent Vacation.
JJ: Yes. You're one of two people that know that (laughter). I just read that those guys from Bang On A Can were doing live versions, with instruments, of Music for Airports, or some of those pieces that were purely tape generated. I heard it was beautiful, I want to see it. And I just got the re-release of Robert Fripp and Eno's No Pussyfooting, where they give you an extra disc where they just had the two tracks in reverse.
Posted 10/11/09
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