The Unknown is saxophonist/composer Phillip Johnston's soundtrack to the 1927 silent film of the same name. As with much of Johnston's other work, the music here is a witty, often changing mix of sounds and styles from various eras. Appropriately, there is an emphasis on various film music archetypes, although not just from the silent film era, but from more modern times, too. The tracks weave in and out of frantic, polka-driven chase-scene themes, genteel waltzes, nostalgic parlor-room piano sections, sultry noir-jazz passages, and more. Johnston also adds in more modern elements, from dissonant horn harmonies and free-leaning improvisation to a few rock-oriented rhythms and even some electronic/synthesizer touches.
Really, why should this music be called avant-garde? Should a band as gloriously fun as Phillip Johnston's Big Trouble really be given a stylistic label equated by many with either difficult art music or deadly serious free jazz? Yes, in the '90s jazz world, the enormously engaging saxophonist/composer and his band of accomplished musical pranksters definitely fell on the avant side of things, but that was more a reflection of the sorry state of the mainstream, in comparison to which, of course, any era's avant-garde is defined. In a rational world, Johnston's first post-Microscopic Septet project would be seen as appealing to a very broad audience segment – say, those with ears on the sides of their heads.
Page of Madness is an original film score for Teinosuke Kinugasa’s Japanese 1926 silent film masterpiece, Kurutta Ippeiji, (A Page of Madness). It was recorded in 1998, and is just being released on CD now for the first time. It features The Transparent Quartet, and was recorded by Jon Rosenberg.
Mojo Presents Revolution Blues. Given away free with Mojo Magazine April 2018. Yoko Ono, Billy Bragg, Woody Guthrie and many others.
Slide guitar blues is produced when a player uses some kind of tubular finger covering (usually made of metal or glass, like a bottleneck) to depress the strings of a guitar over the frets so that the strings are stretched and bent, producing a wavering tone. Traditionally slide guitar blues was played on resonator guitars, but a variety of acoustic and electric guitars have also been used. Blues slide guitar originated in the Mississippi Delta region where it was popularized by a number of blues players, including Robert Johnson. Electric slide guitar blues developed along with other electric blues styles with the migration of African-Americans north to Chicago in the 1940s.