JASCHA HEIFETZ AND ITZHAK PERLMAN. Original Jacket Collections. 10-Disc Box Sets. Sony BMG.

By John Aiello

The Sony/BMG Original Jackets Collections comprise one of classical music’s truly splendid series – these box sets that feature original discs coolly repackaged and remastered into CD-sized replicas of their actual long-play jackets. Critically acclaimed and recognized for the sweet resonance of the records, each next installment of the Original Jacket Collections is always widely anticipated, with advances in technology taking time-tested classics and rendering them fresh and new and vital again.

Accordingly, these two installments are no exception:

 THE ORIGINAL JACKET COLLECTION ITZHAK PERLMAN. This record captures the vast history of Perlman in its evolutionary form, capturing highlights from both his RCA Red Seal and Sony Classical records and synthesizing them into a seamless ‘narrative’ of violin-driven symphonies. This box is rife with centerpieces and master-performances: Note the 1978 recording of string-trio serenades by Beethoven and Dohnanyi (featuring the work of violinist Pinchas Zuckerman and cellist Lynn Harrell). This record is representative of the visionary brilliance of Perlman, a stunning and insightful performance that moves the heart rather than the mind, driving the listener back to the essence of the self, driving us with the motion of sound driving the poetry of echo into crystalline layers of vibration. Sit back and focus: As cello melts into violin we have come to lose ourselves in this mystical bright holy storm of strings in the light of sun and moon now become one. Also notable is the spotlight disc that memorializes selections of Perlman’s collaborations with Academy-Award winning composer John Williams. It’s all on the Cinema Serenades record (and specifically in the riveting theme from the “Schindler’s List” film): As the music uncoils, both soul and conscience are revived. And the horror of the human condition come alive (the darkness and beauty of man rewoven into a piece of music that goes well beyond the narrow mission of defining a movie). Instead, this is the personal theme of each of our blind and secret histories forever committed to walls of sound.

 THE ORIGINAL JACKET COLLECTION JASCHA HEIFETZ. To many, the violin is defined by Jascha Heifetz’s catalog of work. And probably nothing best defines the brilliance of Heifetz more than the solo interpretations of Bach recorded in the early 1950s. In this collection, Sony re-releases three full CDS of Heifetz doing Bach, these records that feature the six solo sonatas and partitas, as well as the Concerto for Two Violins in D Minor. To hear this music is to journey back in time – back across the sweeping ocean tides of memory into this invisible motion of music. And to hear these records is to embark on a long and holy spiritual quest one man among many gone in search of God. Simply, this music is about building a separation from the human earth as we move into the idea of the self, moving into deep concepts of creation. Simply, to listen to Heifetz’s magnificent manipulation of the violin is to bear witness to an artist on a pilgrimage to rediscover the idea of heaven in strains of echo now melting into song. As many a critic has observed, Heifetz’s playing is technically perfect – tone and pacing as flawless as we have ever heard. But going further, what made him a true master is in his ability to take this technical understanding and bring it dollops of blood from within (this ability to use the violin as a vehicle to reconnect with the wayward ghosts of the great Bach and Brahms in invisible worlds one thousand universes away). Also notable is Disc 4, featuring a chilling version of Bruch’s “Violin Concerto No. 1.”

In sum, these box-sets mark two stunning assemblies of music, and the rest of the classical world will be hard-pressed to match (let alone surpass) what Sony has done in resuscitating some of the most inspired music to ever be recorded.

Please visit sonybmgmasterworks.com for more information.

Still a Feast for the Senses

STAR WARS. THE COLLECTORS EDITION. John Williams. Sony/BMG.

By John Aiello 

For many, Star Wars was the film – this grand amalgamation of action and fantasy and science fiction that fed the senses from an array of perspectives. And this wonderful artistic ‘stew’ is now back front-and-center thanks to this 8 CD soundtrack collection that marks the film’s 30-year birthday.

Truly, this soundtrack is a piece of memorabilia worthy of the brilliant films from which it was sired: A stunning and elegant feast of sound that lives in its own individually numbered box (sporting brand spanking new cover art culled from the main Star Wars characters).

Image courtesy of Sony.

Astute Star Wars’ junkies will quickly note that the heart-center of the collection is buried in the three recordings by legendary composer/conductor John Williams – for as much as Star Wars is a visual record of George Lucas’ journey as a film-maker, it is also an auditory record synthesizing the heartbeat echoes that pursue Williams in the dead of night, inspiring these symphonies and concertos for consumption by the diamond-blind human soul.

Fans will note that the 8-CD set is comprised of music from Episode IV (“A New Hope” – 2 CDS); Episode V (“The Empire Strikes Back” – 2 CDS); and Episode VI (“Return of the Jedi” – 2 CDS). The 7^th installment in the collection is “Star Wars: The Corellian Edition” which stitches together the most popular themes from the first six Star Wars episodes and then releases them into soaring bridles of music that serve to honor the most readily identifiable movie ever screened.

Finally, the 8^th CD is an ‘extra’ for all those kids-at-heart: This CD-ROM collects each of the inserts and gatefolds and posters that were included with the original vinyl releases from Star Wars Episodes IV, V and VI – these digitized pieces of artwork bring the whole film back to life in crisp and piercing detail: The pictures melding with the music in seamless fashion to recreate the phantoms and faces and misty silhouettes Lucas was dancing among when he built this film.

Simply, Star Wars is one of those movies that will be called a classic not only today and tomorrow, but for centuries to come (just as this collection of CDs now writes its auditory record: Committing our collective journey through those hidden galaxies of tomorrow to beautiful cool permanent music).

Order at amazon.com

THE TWO VOICES OF THE SINGER

Marvin Gaye on American Masters

 AMERICAN MASTERS MARVIN GAYE: WHAT’S GOING ON. Written, produced and directed by Sam Pollard. Produced for PBS by THIRTEEN/WNET in New York City in collaboration with Isis Productions.

By John Aiello

Marvin Gaye was a rare force in the annals of American music – a singer and performer of great passion whose art was able to transcend the cultural divide while carrying Black music to its rightful place in the pantheon.

In this new documentary from American Masters, Gaye’s music is examined with deft precision by award-winning Director Sam Pollard, as Pollard comes to humanize the myth of Marvin Gaye (while proving this man was so more than a soul-singer).

As Pollard’s film shows, Gaye was an artist whose voice resonated with depth and faith and wonder – this testament to the fact that there is really no Black experience or White experience.  Instead, it’s just people united in turmoil, connected by hunger and the need for love; instead, it’s all just people united by soft invisible threads of music.

As you can see, Gaye was a larger-than-life figure. And his story ends up being the most complicated of assignments for any film-maker. Simply, how do you synthesize a life this big into a mere one hour show? Moreover, how do you bring the intangibles of the creative process to the screen in a form that will hold meaning for a mass audience?

The answers to these questions are provided by Pollard in stunning and graceful terms, as he brings the specter of Marvin Gaye to life in a spirited and enlightened way - placing us in touch with the man who changed how the world heard music.

In What’s Going On, Pollard uses great clarity of focus to paint a living and realistic picture of one of the great voices of our times. But in as much as Gaye was an original voice and a tireless innovator, he was also a troubled man who battled demons down every step of his career. Accordingly, Pollard is able to teach us that great art is often the by-product of agony and rage – the culmination of a spiritual journey through darkness and rain.

What’s Going On sets an archival interview with Gaye against live performance footage in order build the foundation for the film – the two voices of the singer telling this deep and profound story. Additionally, interviews from his sister Jeanne Gay and ex-wife Jan Gaye (along with Smokey Robinson, Mary Wilson and Martha Reeves) fill-in the blank spaces between the pages, giving the film both body and a lasting relevance to multiple generations.

At once, What’s Going On strikes the thirsty heart of the viewer – this dark and piercing film that sheds light on a possessed soul whose every breath deepened the healing essence of song.

Yet, most unfortunately, Gaye could not save himself, and his journey ended stillborn in tragedy. However, as this movie evinces, his legacy and its great body work serve to enjoin music fans of all races, creating a vibrant community that still thrives today. And in that regard, Marvin Gaye’s life proves a resounding beacon of triumph, will, beauty and courage.

CELLULOID MOMENTS

WAYNE EWING FILMS 

THE LEGEND OF LES PAUL

On PBS stations nation-wide

 AMERICAN MASTERS LES PAUL: CHASING SOUND. A John Paulson Production. Directed by John Paulson. Executive Producers: Susan Lacy. Glenn Aveni. Produced for PBS by THIRTEEN/WNET in New York City in conjunction with Icon Television Music.

By John Aiello

At 92, the great Les Paul serves as one of the hidden faces of American music, a man whose hands and heart are alive in myriad aspects of our sound, as much a part of the musical landscape as visionaries like Bob Dylan, Bruce Springsteen, Aretha Franklin and Robert Johnson.

Some 60 years after he hit the scene, Paul’s contributions to music are used and reused, are heard and reheard, on every stereo and on every radio throughout the world. In point of fact, this is the innovator who gave the world the most influential instrument of the modern musical era - the solid body electric guitar.

However, Paul’s ingenious curiosity didn’t stop there, as his cutting-edge ideas on making records found their way into the studio in the guise of the now universal over-dubbing technique that so many sound engineers employ.

In Chasing Sound, which is part of the acclaimed American Masters series that has entertained and educated us for decades, we  finally have been granted a true examination of the dynamic Les Paul and his many revolutionary accomplishments.

“It would be difficult to overstate Les Paul’s influence on popular music in the twentieth century,” muses American Master’s creator Susan Lacy. “He pioneered the electric guitar and revolutionized our concept of what recorded music could be. Ironically, his inventions ushered in rock ‘n’ roll and pushed him out of the spotlight…”

In the minds of many, Les Paul is the rock and roll melody line, his solid-body electric axe the heart that drives the blood through the vein of the song. Consequently, every player owes a debt to his genius: Without his diligence and curiosity and hard-edged drive, our music would sound quite differently (and most certainly would lack much of its wanton bring-down-the-walls passion).

In this film, Paul’s story is told in pure documentary form, but with a twist: Instead of using a narrator, Paulson allows his subject to propel the flow of the piece, Paul painting the picture of his life through sweet remembrances and anecdotes (taking us from the bitter basics of his Wisconsin hometown, to the Depression-sick streets of Chicago playing along side Art Tatum and Louie Armstrong, and then onto Hollywood, days of World War II, where he backed the legendary Bing Crosby on guitar).

Interspersed throughout the production are classic bite-sized capsules of the music Paul helped to make famous, in addition to interviews with the likes of Jeff Beck, the late Ahmet Ertegun, B.B. King and Tony Bennett – these voices who remain indebted to Paul now looking back on him with fond respect, these intimate pebbles of memory serving to give this film-record ‘body’ and ‘shape’ and present-day relevance. Moreover, these interviews offer much new information on multiple levels, helping to humanize Paul in a way that those staid biographies and formulized magazine snapshots never could.

Obviously, there are many reasons why this is an important film, not least of which is the fact that it weaves the bits and pieces of a huge life into a single shard of fabric that is as broad as it is introspective – a true reference point that will enlighten a series of generations. Simply, any kid who boots up his I-Pod and retreats into a rock ‘n’ roll moment should know who Les Paul is and why his work is considered utterly indispensable to the face of our popular culture.

      TEN MINUTES

       WITH 

         JOHN PAULSON  

John, let’s begin with a bit about how you started directing films.

I was actually a film-maker at the Smithsonian Institute for 14 years, and that’s how I cut my teeth on the documentary form. That was also where I learned to make films about culture and music and the arts. While I was at the Smithsonian I was able to work with a variety of themes, in a variety of styles. But I always seemed to gravitate towards films which possessed a strong cultural expression. That part of my career came to an end in 2002, when the Smithsonian terminated its film department. And that’s when I became a true independent film-maker.

Some would say that it’s pretty bold doing a film on Les Paul, holding to the theory that it’s a narrow subject-line, since most young viewers probably are not aware of Paul’s place in music history. Given this, how did you come to make Chasing Sound?

You know, that’s probably true – most people don’t have a real sense of who Les Paul is, other than being some dusty name from the past. And that was exactly my mission with this movie – to increase awareness of this very important component of music history. In fact, Les was the first guy playing electric guitar coast-to-coast, the first to ‘electrify’ and bring this music to the radio. Personally, I met Paul while I was at the Smithsonian. Of course, I’d known about him for a long time, with his name embroidered on the necks of so many guitars. And as I got to know him, I found Paul to be an amazing character full of exuberance. And as I got to know him better, I came to understand his special place in history, I came to see that he was indeed a candidate worthy of an American Master’s production.

It must have been a daunting assignment – trying to bring this multi-dimensional man to the screen…

Yeah, it was. There was so much to the story. Plus, I was absolutely stunned by his ability as a guitar player. The layers to his recordings are astonishing. But the story was big and broad; there was so much to say in 84 minutes. As a film-maker, I had to give it everything I had. I didn’t hold anything back, because when you’re working with a legend like Paul, you owe him as much. Really, there’s a lot to Paul that most listeners don’t know about, things like his wonderful sense of humor. I wanted to bring that element out. I wanted to make a film to match up with Les Paul’s rascal-sense of humor.

Why is it important for young fans of the rock idiom to see this movie?

I think the over-all message is important – that you can’t take what came before you for granted. Listen to your soul and your vision and where it wants to take you. Paul heard these guitar sounds in his head that no one else heard and he worked like hell to make them real. He willed them into being, creating technical advances to make them a reality.

After creating this movie, tell me who you think the real Les Paul is…

Paul is a guy who always knew what he wanted to do, and he worked like hell to make these things happen, dedicating many years of his life to his art. And because of his dedication, his contributions to music are permanent.

In terms of making the movie, how long did it take – start to finish?

It took about 2 years start-to-finish, though it wasn’t done continuously. I started it during his 90th birthday celebration and the filming continued for another 6-9 months. After the filming was done, it took another 6 months to edit and shape the movie. I guess it might be hard for some to understand, but with Les, you don’t just rip out the camera and start filming. There’s some camaraderie to the process.

Given Paul’s advanced age, this production could have presented some challenges. What was it like working him? Did you run into any unforeseen problems?

Well, Les’ age wasn’t a problem at all. In fact, Les didn’t even want to make this fim in the beginning, he didn't want to stop his own work that he was doing. It took me 9 months to convince him to do the project. Actually, Les is really a night owl. He gets up in the afternoon and lives his life at night. Thus we’d start filming around 6 PM and stop around 2 AM. We’d finish and leave, and he’d be off to work on something else. “Chasing Sound” is actually a phrase Paul uses to describe his own quest. And it was a perfect title for the movie. But, really, Paul’s age wasn’t a consideration. He’s still incredibly sharp-witted with extraordinary recall, with such extraordinary memories stored in his mind.

Where do you go from here John? What’s your next project?

As far as I am concerned, music is the fabric of our beings. It’s as important as drinking water. It’s what moves us. It’s what soothes us. And in my eyes the music-makers are standard-bearers for each of  us. I’ve done a lot of music stories in documentary form and I want to continue this work. Art is what moves my soul. And I want to continue on this path…

~John Aiello

The commercial DVD version of Chasing Sound is now also available from Koch Vision, and it allows viewers to commit this very important and very influential music documentary to their own libraries. The DVD brings the legend of Les Paul right to your home projectors and captures some rare footage of Paul at work, playing with his Trio at the Iridium Jazz Club. These are the special moments that the film’s director John Paulson alludes to in the preceding interview: Paul’s considerable skill as a musician placed center-stage as he drowns his spirit in sacred ideas of sound and rhythm. Going further, viewers are treated to extended discussions with this ‘architect of rock ‘n’ roll’ as we come to create a very real and very intimate relationship with the man responsible for so much of what we hear on FM stations across our scattered countryside. Aside from its subject matter, the film’s production work stands out – sparkling clarity marks the shape of each and every frame. In addition to being appropriate for fans of the electric guitar, Chasing Sound should be strongly considered for use in the classroom as an instructional aid: Too many younger students of the idiom fail to realize Paul’s place in the history of our music, and this film serves to right that course, reacquainting us with this innovator of many faces and many passions who took the bare-white thirsty bones of an idea and shaped them into a world-wide revolution.

~John Aiello

Ella Fitzgerald was one of the great ones: A voice and presence so infinitely beautiful she caused everyone who heard her sing to shiver - struck by the tender holiness of the experience.We Love Ella! A Tribute to the First Lady of Song (a GREAT PERFORMANCES presentation from Thirteen/WNET New York premiering June 6 on PBS stations throughout the country) brings a group of Ella's disciples together to celebrate the anniversary of her 90th birthday. We Love Ella features the work of Patti Austin, Natalie Cole, Stevie Wonder, Quincy Jones, Nancy Wilson and Ruben Studdard - sterling performances by some of the musicians who were so deeply influenced by Ella's magnet spirit, by her inimitable ability to bring the core of song to multi-dimensional life. This film, directed by David Horn, captures a concert that took place April 29th at the University of Southern California (and co-produced by Phil Ramone, Gregg Field and Mitch Owgang), interspersing streams of music with interviews and recollections of the 'first lady' (in addition to show-casing several riveting and never-before-released vocal performances by Fitzgerald herself). The images here rise and swell with movement, motion and energy --the bluesy wail of each particle of memory swinging the sweet jazz of time without past or future: Suddenly, Ella is back with us again, alive in the moment, perfect in the present, guiding her many disciples through the concert of a lifetime. Simply, this is a powerful and engrossing musical tribute to one of the most influential voices of the modern era. Consequently, it will appeal to both hardcore fans and new students of the genre. Mark your calendars - this one can't be missed.

               &          

         Ben E. King                                Ahmet Ertegun                                   Solomon Burke

Images courtesy of PBS. All rights reserved. No duplication permitted.

 

---

ANOTHER CLASSIC

FROM

 AMERICAN MASTERS

"Atlantic Records: The House that Ahmet Built" provides a film-record of the life of music-pioneer Ahmet Ertegun, whose visionary spirit changed the recording industry. "The House that Ahmet Built," part of PBS's acclaimed American Masters series, is rich and bold and evocative, an extended moment in time featuring interviews with the enigmatic Ertegun and many of the musicians (Ben E. King; Solomon Burke; Eric Clapton; Phil Collins) who gave Atlantic Records its unique face and inimitable sound. In addition to our review of the film (below), we are also featuring interviews with the film's Executive Producer, Susan Lacy (as well as legends Burke and King). ~John Aiello

---

 AMERICAN MASTERS ATLANTIC RECORDS: THE HOUSE THAT AHMET BUILT. Written and directed by Susan Steinberg. Producer: Phil Carson. Susan Lacy Executive Producer and orginal creator of the AMERICAN MASTERS series. Produced for PBS by THIRTEEN/WNET in New York City.

By John Aiello

He started the most innovative and daring record company in the world with a mere 10 grand that he borrowed from his dentist, unleashing on the world a perfect sanctuary come in the guise of a recording studio, this holy place where music-makers would gather and ply their trade, honing the chocolate-dark echoes of heart-sound into poetry.

Of course, this place was Atlantic Records. And the man behind the construction of the palace was none other than Ahmet Ertegun, a Turkish immigrant whose ear and vision chiseled their way into our collective consciousness and changed the way we would hear music.

Ertegun's story, the subject of the PBS feature AMERICAN MASTERS Atlantic Records: The House That Ahmet Built, is truly mythical in proportions. In turn, via the classic documentary style, the film sets out to examine Ertergun's life from the silken skeleton of its edges:

Fresh from Turkey, the young Ertegun hits New York City in 1947 and parlays a small loan into an empire. As soon as the doors of his studios swung open, the core of our American sound would become Ertegun’s Atlantic Sound --this amalgamation of so many different styles and so many genres, this vision that melded the thick echo of R&B with the shaking hips and savage tongues of Rock-n-Roll, this creation of a new palette on which the ‘painters’ would come to drip their living beads of blood.

AMERICAN MASTERS Atlantic Records: The House That Ahmet Built took nearly half a decade to flow together, and the reasons for this are obvious: This is a sprawling story with many faces and many side-doors to explore, a story that serves not-so much as a eulogy to the great Ertegun (who died in 2006 after falling backstage at a Rolling Stones' concert) as it is a hymn to the power of music, a testament to our American sound that is comprised of billions of people in places hidden to everything except the eyes of the ghosts who hover at these separate corners of the world.

A big story, indeed.

And how does one go about trying to capture the steady genius that was Ertegun? And how does one go about trying to paint the poem of a life into the permanent structure of film?

It only can be done in the pure documentary form by the hand of master film-makers, the tale told through the voices and the eyes and the bloodied, soul-piercing observations of those people who were there.

Accordingly, AMERICAN MASTERS Atlantic Records: The House That Ahmet Built features interviews with James Blunt, Solomon Burke, Chris Blackwell, Ray Charles, Eric Clapton, Phil Collins, Aretha Franklin, David Geffen, Taylor Hackford, Mick Jagger, Mick Jones, Leiber And Stoller, Kid Rock, Ben E. King, Henry Kissinger, Wynton Marsalis, Sergio Mendes, Bette Midler, Paulo Nutini, Jimmy Page, Robert Plant, Percy Sledge, Jann Wenner and Jerry Wexler -- the ones who were singing for Ertegun are allowed to carry the current of this very personal story, weaving the echo of song into distance and perspective in order to create this document of one man's life which represents the music of a century and the cultural evolution of a nation.

In addition, the producers juxtapose these interview segments with Ertegun home-movies and various stunning and rare performance clips (along with 4 years of interviews with Ertegun himself), taking us on a breathless journey which begins at the genesis of Atlantic Records (moving through 50 years of changing faces and pattern-less roads). And this, then, is the place where we come to find ourselves in the center-cut mirror of a movie that serves as a testament to the voices who sang and the hearts who heard -- a testament to the idea of art itself.

AMERICAN MASTERS Atlantic Records: The House That Ahmet Built (like its many American Masters predecessors) is flawless -- the pacing and editing are at once bold yet restrained, capturing a man in tireless motion, capturing his Atlantic Sound that was meant to be in the midst of perpetual change like the countryside of its birth.

Yet, more than anything, this film is about creating a universal intimacy: As we listen to fellows like Solomon Burke talk about Ertegun and the inner-core of this man’s soul, we are really listening to one friend talk of another friend in very personal and revelatory terms. In the end, The House That Ahmet Built records the motion of random voices as they flow together into one naked pool - this description of how the seeds of art came to be fertilized and fed, this photograph of the eternal garden of song now rising into golden cool definitive bloom.

Inarguably, the AMERICAN MASTERS series is an artistic triumph that has lasted decades because of its ability to supersede the sometimes narrow constraints of the documentary as it devours the whole drama of life amid all our contradictions and failures and painful missteps (in turn, giving rise to the essence of art and the bittersweet beauty of human existence).

For lovers of music and historians of the American sound, this snapshot of Ahmet Ertegun will not only prove illuminating, but completely indispensable.

 FEATURING

AMERICAN MASTERS CREATOR

SUSAN LACY

Photo courtesy PBS. All rights reserved.

"Atlantic Records: The House That Ahmet Built"

Susan Lacy, the creator and executive producer of PBS’ acclaimed American Masters series from Channel Thirteen/WNET New York, has produced many films over a career that has spanned nearly 30 years.

In the course of creating American Masters (famous for documentaries that propel their subjects into new dimensions of reality), Lacy has presented many music-based features (including the acclaimed Martin Scorsese-directed “No Direction Home” which chronicled Bob Dylan’s meteoric ascent to the top of the rock-and-roll world, as well as the sharply nuanced “Lou Reed: Rock and Roll Heart”).

And now, on May 2, AMERICAN MASTERS Atlantic Records: The House That Ahmet Built is slated to premiere on PBS stations throughout the country: This stunning film-record of Ahmet Ertegun, whose Atlantic Records changed the course of popular music by providing a platoon of R&B artists a firm stage from which they could refine their craft and embrace their audience.

In keeping with Lacy’s other work, The House That Ahmet Built is notable for its pacing and for the thread of its narrative – this film that churns forward like some great wheel of wind, throbbing sweet new melodies, sweeping us up in its story until we find a actual pieces of ourselves hidden there. ~John Aiello

Tell me about the genesis of this film.

Well, the idea for the film came about while I was working on a project with Phil Carson at Suns Records. At the time, Carson was producing an album with Ahmet – an album of contemporary musicians doing famous Sun Records hits. For example, Paul McCartney did a great version of “That’s Alright Mama” for that album. And American Masters filmed the recording process and created a documentary based on it. In the process of doing this film on Sun, I got to know Ahmet very well and that’s where the idea for a film on his life and work was born.

Why a film about Ahmet Ertegun? What was the most impressive thing about Ertegun?

As you can imagine, it’s quite a daunting task trying to tell the story of 60 years of music through the story of one man. However, Ertegun has had such an enormous influence on culture and on many different forms of music that we were able to do it. I think what was most impressive about Ahmet was that he both loved and recognized the African American contribution to music, and his work helped these contributions to flourish. People sometimes forget that when Ahmet entered the business there was a lot of racism and prejudice, and what he accomplished at Atlantic helped to combat this. Plus, Ahmet was a hands-on producer, by this I mean that he got into the studio and rolled up his sleeves and made these records with the musicians. And that was unusual for the times. Also, Ahmet had an unerring belief in what he was doing. He had an amazing ear and had the talent to recognize talent in others - which is a rare ability in itself. But more than anything, Ahmet was a true gentlemen in a rough and tumble business. Record people are not known for being gentlemen. But Ahmet had impeccable manners. He treated people with respect. Here was a guy who could have dinner with the Queen one night and go clubbing with Mick Jagger the next. A rare man indeed…

How long did it take to create The House That Ahmet Built?

The movie was shot over a period of 4 years, but it actually took about 9 months to produce once all the interviews were done. It took so long to finish the interviews because it was so hard to schedule time with the many working musicians who are featured. Actually, when we launched into the idea, we didn’t have the full budget in hand, yet we were very aware of the fact that we needed to keep going with the interviews. We knew Ahmet’s age was a factor, and we didn’t want to lose the chance to make this movie. Really, this was quite a difficult film to make. It’s not easy to cover this much time and history in two just hours….

I understand Ertegun participated in several hours of interviews for the film, and it seems that he was intent on his story being told. What was the underlying reason for this?

I think he was ecstatic about the opportunity to reconnect with his friends and with people he worked with in the past. And I think he was also flattered that American Masters wanted to memorialize his legacy, to create a record of his legacy that future generations could look back on. It’s the ultimate recognition to the value of his work.

In terms of his impact on the whole of the culture, what do you think future generations of musicians will most remember about the man who built the Atlantic Records empire?

I think, again, it comes down to Ahmet’s effort to bring recognition and respect to African American musicians. This should not be understated, as what Ahmet did at Atlantic in this regard helped the work of these R&B players to flourish, and in turn, it forever changed music. I don’t think this will ever be forgotten. Ahmet’s life is a wonderful story: The story of an immigrant who took his love for jazz and the Blues and turned that love into the most important record label in America. His story is about progression, starting with the Blues and ending with Rock and Roll -- changing the face of music in the process…

Looking at Ertegun’s career, he had an amazing knack of connecting with many different kinds of musicians (the Rolling Stones; Solomon Burke; Ben E. King; Eric Clapton; Phil Collins). What was it that drew so many different kinds of players from so many different backgrounds to want to work at Atlantic?

Well, all of these artists grew up on the music of Atlantic Records, on the music that Ertegun helped make. As I said, there were two very distinct lives at Atlantic: One devoted to Blues and one devoted to Rock and Roll. The label changed with the times because it had to change in order to survive. And I think all of these musicians who you mentioned really wanted to be a part of Atlantic and the history of its music. Plus, Atlantic treated artists well. Ertegun had a reputation of treating musicians with respect and not as some commodity to exploit. There was a love of music at Atlantic. And artists who recorded there knew Ahmet would not second-guess them or interfere with their creative vision. Ertegun recognized talent and uniqueness and allowed it to flourish. That’s what brought musicians to Atlantic….

 ~John Aiello

---

REMEMBERING AHMET ERTEGUN

Solomon Burke & Ben E. King

recall the genius of Ahmet Ertegun

Ben E. King of the Drifters and Solomon Burke are legends in their own right - -singers of amazing depth who possess a command of language and voice and the ability to reach an audience through stage-driven performance. And even though they are often categorized as R&B performers, they cannot be pigeon-holed. Instead, King and Burke (like Ertegun himself) are students of song and sound, men compelled by nuances of melody, men driven to give identity and cadence to the secret music that plays on behind the severed walls of the mind. Looking back, it seems that Ertegun gravitated toward these kinds of players: Men who had a firm idea of who they were and what they wanted to say, men who had stage-presence and brimmed with emotion and empathy, who overflowed a sweet mix of sorrow and unquenchable joy. Ben E. King and Solomon Burke are two of the great voices of modern music and they found a home in the studios of Atlantic Records: This holy garden without boundaries where so many music-makers plied their craft. The memories of King and Burke provide great insight into both the rebirth of the blues and the international take-over of rock-and-roll. In addition, their memories grant insight into the immortal legend of Ahmet Ertegun: Music-mogul and maverick iconoclast whose mission was to bring this world the everlasting gift of song. ~John Aiello

Solomon Burke

Tell me of your first meeting with Ertegun.

I still remember that day vividly: I met Ahmet in the lobby of Atlantic Records. He was standing with Jerry Wexler [the famed Atlantic producer], and Jerry introduced us. Without even taking a breath, Ahmet said: “You’re Solomon Burke? You’re signed to Atlantic.” And that was that. It was literally that fast. Imagine what I was thinking: There I was in the lobby surrounded by photographs of the likes of Big Joe Turner and Ray Charles, in the midst of all this history. I just stood in amazement, lost in the thought that I had just become a part of a label where all this ingenious music was being made….

So, Solomon, that’s all Ahmet said – ‘you’re signed?’

(Laughing) Well, as soon as he did, he asked me – “So what kinda sandwich do you want? Pastrami or corned beef?” Now here I was, a dude from Philadelphia – I knew about cheese-steaks and sausage, but not about corned beef (with big brimming laughter)….So I ordered myself a pastrami sandwich with hot chocolate. Just like that, I was a star on Atlantic Records….You see, things literally happened instantly with Ahmet…

Wow – amazing…

I’m telling you, I left Atlantic that day with a contract and some mayonnaise from my pastrami sandwich on my sleeve (laughing).

Looking back, tell me about Ahmet, I mean how was this very refined gentleman able to literally gut the recording industry and reconfigure it the way he did?

Well, Ahmet was very diplomatic and he had the talent to relate to all different kinds of people on their level. He was high class. Really, Wexler looked like a school boy, and Ahmet – he looked like the teacher. But Ahmet, man, he really knew music. Jazz. Blues. Gospel. He recognized sounds almost instantly. Wexler could feel the music in his bones, but Ahmet – he knew it on an intellectual level, and he was a true master in the studio. Ahmet and Jerry [Wexler] were a special team and they were able to blend their genius into a special kind of magic. And it comes through those records and through the years: In the final days, that music is still going to be standing….

I imagine Ahmet’s passing has had a great impact on you...

Oh yes, oh yes…Ahmet didn’t decide to leave us, the angels decided he was going to go to a Rolling Stones concert and then roll on out with them. The angels decided it was time for him to sign some bigger acts and book some far bigger shows. I don’t believe Ahmet’s gone. I think he’s on one of those big-time tours and we have no idea who he’s booking, we just know, like everything he did, that it’s a big deal. I feel that in my heart. If anyone is ever going to find Noah’s Ark, it’s got to be Ahmet – he was that kind of master.

Can you speak a bit about your last interaction with him?

Every moment I ever spent with the guy was fascinating, it was intensely educational. One of our last meetings was in Switzerland, and it was filled with conversation about the music we’d made together, and it was filled with a lot of laughter. Ahmet had an impeccable personality and an impeccable memory and an impeccable sense of humor, he had a knack for making you laugh. And he was a natural storyteller – told me stories about myself that I didn’t even know (roaring with laughter). He was a one-of-a-kind man, and no one is ever going to imitate him, or duplicate him, or replace him. This was a man whose presence said: ‘I am who I am and I believe in what I believe.’ I mean, you have to respect that…

Given the racial tensions of the times, why did black musicians want to record with Ertegun? Why did they trust his take on things?

With Ahmet – there was no color barrier and no language barrier. He believed only in the music and the artist. He didn’t care what color you were as long as you had the talent to make meaningful music. If you had the talent – and away we go! Ahmet was a rare man who could look you dead in the eye and tell you what was going to work and what was not going to work. And you believed him. Simple as that.

Looking back, what stands out in your memory about this guy – beyond the music?

He was happy! He was happy at home and that reflected in the rest of his life. Also, as I said – he was a guy who told it like it was, he was happy to make that final decision and then stick to it. That’s something that demands respect. I always thought that if Ahmet had had a son born in his exact image, there would have still been something different about the kid. Ahmet was that unique.

So, what made you want to participate in this film-record of Ahmet Ertegun’s life?

I was part of the story and of the time – I was there when the label and the music were both developing, and I wanted to be able to help tell the story. Atlantic had a unique vision, mixing different markets, bringing the music to the people and the people to the music. So much great music; for a time, we thought it was never going to stop. Turn on the radio in those days, and it was all about Atlantic Records. Think about it now, and it brings your memory into clear focus…

What was Ertegun’s greatest impact on the music?

Him….You see, Ahmet was the impact. Everything that came about came about because of him. His history. His background. His heritage. His joy. His love. His life. Just him. Let’s take the show to heaven now, and keep those shows cool – please…. (Poignant laughter)

How did Ertegun’s vision meld into your own personal vision as an artist?

His vision will always live on within me. It comes down to something he said to me once after I gave him a record of mine to preview. He said – “Keep on keeping on…” And how those few words inspired me! He was telling me – you can make it if you really try. He was saying, don’t give up on yourself – ever! He was saying, you can make it if you want it…

That’s pretty special to find that kind of soul in a business not noted for its soul…

What can you say about the man that would not be incredible? He had such an incredible way of looking at life. He never blinked. He never said I’m different. Instead, he said –‘I’m me. Accept me for me.’ He never blinked and he never stopped thinking. Instead, he made action and movement a part of his thinking. He’s an act you just can’t follow. All you can do -- trace the years with tears and joy…

~John Aiello

BEN E. KING

So, Ben E., I recently interviewed Solomon Burke about Ahmet and the PBS film chronicling his life and times. And I am going to ask you some of the same things I asked Solomon, as a way to paint a portrait of Ertegun’s distinctness from multiple perspectives…

Sounds good! We’ll see of us old men are thinking alike (laughter)

Tell me of your first meeting with Ertegun.

My first meeting with Ahmet was back in 1958, at the Atlantic Studios. I was part of the second formation of the Drifters. Immediately, Ahmet made sure we all felt comfortable. He was obviously aware that we were five guys from Harlem who really didn’t know anything about the big leagues of the recording industry. Ahmet seemed to realize that as a band we had a huge responsibility in taking over for the original Drifters, and he had empathy for us -- he understood that what were about to do was going to be difficult. Really, looking back, it was as if he was adopting all of us, he made us feel that secure.

I imagine that his death has affected you deeply…

Really John, it has. I knew Ahmet for almost 50 years, and we developed a deep friendship. He cared for me not only as an artist, but also as a person. He helped me on both creative and personal levels, and losing him is really a hard thing to talk about, a hard thing to explain. The best I can do is to compare it to losing a close family member. (long pause): In the past on many occasions I told my wife and kids that, if anything ever happened to me, the first person they should call was Ahmet. I trusted him not only in business, but with my family as well.

When did you last speak to or see him?

I last saw him at the Montreux Jazz Festival in 2006. Actually, Ahmet had invited me there to perform. I remember we were sitting together one day, talking, and Kid Rock appeared and approached Ahmet. First off, Ahmet introduced Kid Rock to me and it was hilarious to hear him try to describe my music to Rock. But that was Ahmet in a nutshell: The guy would never leave you to be a stranger to anyone.

In the wake of Ertegun’s death, what’s been lost that will never be recaptured? What element died with him?

I think we lost someone who really cared about the music – the music that was created in the past and the music that is being created in the present. He was a true creative genius who had an understanding of blues and jazz and R&B – really, there are not too many men around like that. Now days, producers are in it only for the money and not for the music. It’s a totally different world now…

Looking at it objectively, Ahmet must have seemed like an oddity to five dudes from Harlem: Here was this very diplomatic Turkish gentleman who was producing pop records in America. Given the racial tensions of the time, what made so many black players trust this guy, what made them believe in what he was saying?

Really, when you meet somebody you know in your heart if they’re legitimate and sincere. As for me, I decided to watch and observe him and I believed in what I saw and decided to tread water with him. More than anything, Ahmet lived up to his promises – and beyond. He was very open and very real; plus, he was not shy about telling you what was right with your sound and what was wrong with it. He was the kind of guy you could do business with -- and right after, sit down and have a ham sandwich with him. He was real and honest, and that’s why I loved him…

Looking back on your 50-year history with him, what stands out?

The way he cared for me as a person. As I grew up and grew older and learned more about the business, I learned that he really did care for me a lot. For example, one day I was at Atlantic and I was approached by two guys who said they were going to manage me. I was stunned, because I didn’t know who these men were. After a time, these two fellows went into Ahmet’s office. They stayed awhile, and then left without saying another word to me. When they left I went to speak with Ahmet and I told him what these guys had said. He shook his head no: ‘Those guys are not right for you Ben E.’ You see, he was always looking out for me and my best interests. I knew I was in good hands after that, and that little exchange cemented our friendship forever.

What was Ertegun’s greatest impact on the music?

He had the ability to see things through. Whatever he came to be involved with, he would see it through – from start to finish. And he had a total love and respect for American music, whatever color it was: You could be purple, or black, or red, or blue -- and that didn’t matter to him. He was only interested in your talent and seeing what you could do together. He taught me to respect music and he taught me the business, but really what stands out about him is his honesty: His handshake was money in the bank.

That’s similar to things Solomon said….

See, the old men do think alike!

So, finally, what made you want to participate in this film-record of Ahmet Ertegun’s life?

Well, it wasn’t about saying good-bye to a friend, because he will never leave me. Personally, I wanted to let the world know what he did for me. There would have been no Ben E. King without Ahmet Ertegun. He gave me this life [in music]. And I wanted to participate in this film to let the world know what he did for me and what he meant to me (and to a lot of other musicians just like me)…

~John Aiello

 BOB DYLAN: NO DIRECTION HOME. A Film by Martin Scorsese. Paramount Home Video. Soundtrack released by Columbia Legacy.

"It’s not dark yet. But it’s getting there..."

-Bob Dylan. 1997-

By John Aiello

Quite simply, this is the best music documentary that has ever been made -- a tour de force of image and sound that leaves the fewer paralyzed and spellbound, a graceful and poetic journey into the personal history of a man who embodies the spiritual history of American music during the last century.

No Direction Home premiered on the award-winning AMERICAN MASTERS series on PBS last month. The film was co-produced by Susan Lacy (AMERICAN MASTERS' creator and executive producer), in collaboration with Director Martin Scorsese, Jeff Rosen of Grey Water Park, Nigel Sinclair of Spitfire, and Anthony Wall of the BBC's Arena series.

As documentaries go, what Scorsese has accomplished here is remarkable: by juxtaposing threads of music borne from Bob Dylan’s’ historical 1966 world tour (when he went "electric" and performed songs packaged with rock-and-roll beat) with interviews, we are led through a half-open door and allowed an intimate glimpse into Bob Dylan’s heart and mind.

In short, this production is what Dylan fans have been anticipating for decades. And it surpasses all expectations by leaps and bounds.

In addition to seeing Dylan discuss himself and his work against the context of world history, we witness first-hand the power of his performances in Europe in 1966. And the journey is absolutely incredible. Much of this old footage (shot as Dylan battled with audiences who wanted to hear "Blowin’ In The Wind" and not Jagger-inflected blues) has never been seen before (only rumored to have existed). And it makes for a fresh and truly breathless ride.

Viewers will be kicked in the face as Dylan leads the Hawks through bone-cutting versions of his classic catalog: Catch Dylan’s phraseology as he performs "Like a Rolling Stone" and "Tom’s Thumb’s Blues" -- the howl of vowel intersecting consonant, biting through syllables, devouring the rancid essence of the silence.

More than music, this is a picture of poetry being borne, words coming to life, ideas finding their way back to the sacred and holy light (evidenced by Dylan using a road-side sign to build several different poems on the spot and before the camera). More than concerts, these shows were revelatory experiences meant to enlighten and drive the audience to personal introspection -- snapshots of an artist in the midst of his process growing by the second through the energy of his listeners.

And in No Direction Home, Scorsese delicately captures it all in the fingertip-whisper of an instant.

What is remarkable about the Scorsese’s work here is that the director is careful to remove himself from the equation; instead of adding layers through the film-maker’s perceptions, he is wise enough to just sit back and let it all unspool across the web-laced eye of the viewer. Obviously, the material is so strong it needs no other "voice" but Bob Dylan’s to carry it. And instead of piling more on, Scorsese only helps to shape the picture through masterful edits and cuts -- interspersing song with narrative until the picture finds its full, whole and supple glory.

The high-lights abound: among the many memorable interviews that are conducted for this picture, none stand out more than the comments of Dylan’s long-time producer, Bob Johnston, who says that Dylan’s "got the holy spirit about him" -- drawing a quick metaphor to the man’s immense talent as both writer and musician.

Also notable are the segments with Al Kooper (the organ player on "Rolling Stone" who recounts how he came to play for Bob Dylan) and the interviews done with Suze Rotolo (Dylan’s "Ramona") and Beat poet Allen Ginsberg, who speaks to Dylan’s work in the broad context of post-20th century poetics. Finally, the sometimes-pissy-moments in the interviews that were conducted with Joan Baez demonstrate that Dylan was both a lovable and irritating companion who, once he burrowed his way under your skin, became truly impossible to rinse away.

At 3.5 hours running time, there is literally a mountain of music and history to swallow, and viewers will need to look at this material 3 or 4 times to begin to digest it all -- rest assured, there’s something new around the twist of every corner.

However, the one constant here is Dylan himself: shy and unassuming, piercing and comical -- a reserved and sure-footed poet looking at the world through the lips of a candle. What he sees in the crystal eye of that flame we will hear breathe through every single song he plays.

Viewers who missed the September premiere (and who have yet to purchase the DVD) should continue to check their local PBS listings for encore broadcast dates and times.

The Soundtrack for No Direction Home, meanwhile, is a must-have companion to this DVD, and it includes a lot of the music that’s in the movie, albeit in different forms. There are some wonderful treats to savor, indeed: a bare-bones version of "Stuck Inside of Memphis" allows us to see how Dylan was writing at the time, building the words of his songs around the riff, true to the great and spontaneous spirit of Kerouac. Another gem takes the form of a blues-drenched alternate take of "Visions of Johanna" that shows just how many gowns that song has worn in the chambers of Dylan’s mind: a song almost like a human face changing with the changing light of the landscape. In addition, note the kick-ass live performances of "Hard Rain’s Gonna Fall" and When The Ship Comes In" (as well as the take of "Tambourine Man" with Jack Elliot): these cuts (along with the poignant rendition of Woody Guthrie’s "This Land is Your Land") capture the voice of an American legend in its infancy. Like all great music (like the concertos that grew from the breathless skin of Bach’s hand, like the blues-cut belly howl of the great John Lee Hooker), each of these moments lives on in the subconscious mind of our history: bridging the vacant divide, shattering musty shackles, living on forever. ~John Aiello

Susan Lacy, the creator of PBS’ acclaimed American Masters series on Channel Thirteen/WNET New York (which produced the Scorsese-directed Dylan documentary), spoke to us recently about the role she played in bringing No Direction Home to fruition. Without her guiding hand, it seems unlikely that this lasting portrait of the then-and-now Dylan would have enjoyed such a classy and engrossing frame. Lacy, whose productions are known throughout the world for their depth and resonance, is a living example of how meaningful the television medium can be: After 20 years, her work remains a multi-layered inspiration to hearts and eyes and minds from around the globe.

I understand you are the founder of the brilliant "American Masters" series. Can you tell me briefly about its genesis and what you initially hoped to accomplish through it?

Well, American Masters goes back almost two decades. We’re entering our 20th season and our 160th film. I first had the idea to do it back in 1984. Actually it was all quite simple. I wanted to create a series that would be based on the giants of 20th-century culture. I wanted to bring their lives and work together under one umbrella. It was a hard sell really. The same question kept cropping up: "Who wants to watch stories about artists?" It’s like it was so hard for some to see that stories about artists can be full of drama - -artists have demons and they always seem to be in processes of overcoming something. You see, American Masters was never about being some "Sunday morning biography show," but instead, a vital series on many different levels. We started out in 1986, and the critics loved it. And in these last 20 years, we’ve had a great deal of success; for example, we’ve won Emmys in 5 out of the last 6 years. [pauses] American Masters is not about filling television time. Instead, it’s meant to be as textured and layered and nuanced -- as interesting -- as the people we’re making movies about.

These productions must be quite intricate and complicated to orchestrate....

Yes, they are; and I wear quite a lot of hats in the production process. One of my major roles is to make sure we have secured the rights to material and to insure we have access to the things we need. My central motivation is to make first-rate films and be original and inventive in the process. And this can be quite complicated and quite expensive. Many places are competing to do these projects, but they are not always as concerned with attaining the same quality and originality that we are. A lot of my work is centered around giving us access to all the material that we need to be able to create these movies.

Can you tell me briefly about your background and how you came to PBS?

I actually have a Masters Degree in American Studies, and I came to PBS shortly after graduate school. I had been living in Rome at the time with my first husband, having just written an article for American Studies Magazine on how television could impact the arts. A short time after it was published, my then-husband and I eventually moved to New York, and I was able to get an interview at Channel Thirteen[WNET New York]. To make a long story short, I got the job and began exploring some arts and performance programming ideas. Soon after, we launched The American Playhouse series [among some other productions]. That was all 26 years ago! As I said, we started the American Masters series in ‘86, and I’ve been working on it ever since...

What was the impetus behind the Dylan project and making "No Direction Home?"

Well, Jeff Rosen [one of Dylan’s long-time managers and one of the producers for this film] was sitting on a wonderful archive of material, footage from Dylan’s 1960s' world tours, some really magnificent stuff. In addition, he was doing all of these interviews on his own, trying to capture information about that time from all the people who were there, trying to get it all down while these people were still alive. Yet, even though Jeff had this great archive of material, I don’t think he really thought he had the makings of a film until Bob Dylan agreed to do an interview with him [Rosen]. That tied the threads of the narrative together.

So this project goes back many years?

Yes, definitely -- I had wanted to make this movie forever, and I think I called Jeff about it once a week for 10 years! I definitely wasn’t the only one who wanted to make the film, and when I actually got the call about doing it, I felt incredibly lucky and privileged -- there’s just was so much to say with it. I also really feel fortunate that Scorsese agreed to direct it. He’s just amazing in so many ways, and the film truly took on a life of its own when Marty came aboard.

Did you interact much with Dylan and Scorsese during production?

Certainly not with Dylan - nobody did. But with Marty, yes. Especially during the last six months of production, as the story was coming together. Most viewers don’t realize that directing is a very private experience. The whole process [in the beginning] is about finding your feet and finding the story and making it your own. It’s a very private thing. And directors, including myself [Lacy has written and directed several of the American Masters installments], don’t let anyone in until they’re absolutely ready.

How did the footage and interviews come together? Who had the creative control?

Marty, of course! And the material, it came together in a very natural way. First, there was the immense archive that Jeff had been collecting and compiling which he made available for the film. In the process of editing and shaping it, Marty had specific things he wanted to see. For example, he might say, ‘get me all the music you can find from Hibbing [Minnesota] from the 50s’ -- and we would try to get him as much of those kinds of things as we could find. The editing itself took 2 full years to complete. You must realize that the directing process is a decision-making process: every frame is a new decision. And when you have such a wealth of material like we had for "No Direction Home," it becomes very difficult. You see, the director’s process is the creative process itself.

Did the Dylan camp censor any ideas or attempt to impose restrictions in any way?

No, absolutely not. I’ve been told Dylan won’t ever look at this film. He’s more about looking forward, not looking back. But getting back to your question -- there were no limits. We wouldn’t allow that. We just don’t work that way. To the contrary, it was very free. There were no limitations or boundaries, and Marty was able to focus completely on the material. [short pause] I guess the only real ‘limit’ we had [to adhere to] was to keep the film to these five specific years [61-66], ending it in 1966 at the point of Dylan’s motorcycle accident. I think that’s probably where Dylan felt comfortable ending it. But in actuality, that was the absolute right decision. Centering the story at this point allowed us to show the tremendous impact Dylan had on the culture [as it was happening].

In your mind, what carries "No Direction Home" to its amazing plateau?

Marty reached a great arc with the story, certainly. But I don’t think there has ever been as interesting a portrait of an artist in the process of ‘becoming’ as what we were able to accomplish here. Dylan was in a period of white heat creatively, and even though he was making some amazing music, the world seemed to want him to be something more. And he never bargains with that. Not once. In the end, the story becomes a cautionary tale about the artist struggling against his own fame.

What has the public response to the film been?

The reaction has been fabulous. I don’t think we’ve had one negative review, which is quite amazing. The film really was an ‘event’ -- a happening. And we’d never quite experienced anything to that degree before. Remember, there were four different companies promoting pieces of the show [Sony; PBS; Simon and Schuster; and Paramount], so there was a buzz and an awareness to the whole thing. So naturally, you’d think that that kind of attention would spark some cranky negative reaction, but it didn’t happen here.

So what’s next for you Susan, where do you take the series from here?

We have a lot of projects we’re moving forward on. Right now we’re in production on several films -- [pieces] on Woody Guthrie, Nat King Cole, the John Wayne/John Ford story, Marilyn Monroe, and a three-hour epic on Andy Warhol. We also have a big film on the Grateful Dead upcoming. And that’s just for next season.

Looking back, which of your films stand the tallest in your mind?

People ask me that question all the time -- and I can’t do it! I can’t pick. I’ve done so many wonderful pictures, and I can’t pick from my ‘babies’ that way...

DOCURAMA PRESENTS

 BOB DYLAN

 in

"DON'T LOOK BACK"

 DON’T LOOK BACK - 65 Tour Deluxe Editon. BOB DYLAN. A Film by D.A. PENNEBAKER. Pennebaker/Hagedus Films & Ashes and Sand. Distributed By Docurama.

By John Aiello

This is the 65 Tour Deluxe Edition of the seminal rock and roll documentary that gave the public its first celluloid glimpse into the music and mystery of Bob Dylan. Without a doubt, Don’t Look Back is one of top two music films ever made (paling only in comparison to Martin Scorsese’s No Direction Home, which continues the Dylan story where Don’t Look Back leaves off).

For the second time in the last 40 years, Don’t Look Back is the music release of the year, a film capturing the young Dylan at his finest hour, on the road in Europe circa 1965, performing impeccable acoustic versions of “Tambourine Man,” “Don’t Think Twice” and “To Ramona” (among others).

Don’t Look Back, which intersperses concert footage with “scenes from the road,” is an absolutely riveting display of the young master’s depth, humor and poetic presence, while Pennebaker’s direction remains a thing of utter and striking beauty: Confident in his material, the director just sits back and lets the story unfold before our collective Eye.

As many know, this in-concert-documentary has countless hallmark moments, including one special scene where Dylan is flanked by the shadowy image of a bearded and dark-eyed Allen Ginsberg – a picture symbolic of the way he was able to blend the vision of the Beats with music to create a sparkling new wheel of poetry.

And even though most music fans know the story of how Dylan’s evolution into rock and roll changed the cultural landscape, this cinematic masterpiece now known as 65 Tour Deluxe is very much a vital new work of art.

Here, Pennebaker (in collaboration with Docurama) has taken the spectacular advances in digital transfer and applied them to Dylan’s whirlwind tour of 1960s Europe. The result is a picture that resonates with depth and clarity, as many of those once hazy hand-held shots have been sharpened and honed to bring out every edge of Dylan’s magnificent stage presence.

Yes, many of us have seen this footage tens of times, but that does not detract from the way the digitization makes it all seem so fresh and original again – crystalline and cool, colored with infinite contour, allowing us to peer into the essence of the mirror and find this series of heretofore undiscovered layers.

In addition, viewers are allowed into the Pennebaker vaults and given a whole new film to savor: Bob Dylan 65 Revisited (the companion disc) offers another look at the young Dylan, as we embark on this fascinating journey into the director’s out-takes, many never-before-seen snippets of footage painting a picture of the film behind the film. Suddenly, we come to see that the idea for Don’t Look Back was borne in a Dylan gig: Born here in the spur of the moment in the blood-dirty rawness of song, born here in the sweetness of breath flowing like poetry off the torn tips of the tongue.

65 Tour Deluxe is a real treat for long-time Dylan fans who will be able to re-connect with a piece of music history that forever changed the way the world perceived the role of the songwriter in relation to popular culture. This particular release features insightful and incisive commentary from Pennebaker himself, as well as comment from Dylan’s former road manager, Bob Neuwirth (in addition to several more pristine and uncut live performances from the tour).

Although Don’t Look Back has deep meaning for Dylan freaks and sixties flower children, this movie will also have broad appeal to rock and roll fans of all ages: Along with Elvis and the Beatles’ invasion of America, this was a defining musical moment. And as Dylan’s vocal comes to be juxtaposed with the director’s ‘blow-by-blow’ review of the film-record he so artfully created, we come to taste each and every reason why Don’t Look Back still remains atop so many top-five lists.

Packaged with the Don’t Look Back companion book and a flipbook of the “Subterranean Homesick Blues” cue-card sequence.

Go to Docurama for information.

"I'm Not There" Paints a New Face on Dylan