Cinematic Orchestra at the Roundhouse

Cinematic Orchestra at the Roundhouse

13 October, 2008
by: JHallam

In 1999, former Ninja Tune export coordinator Jason Swinscoe decides to bring together his love of jazz bass players, rhythm sections and film soundtracks to create a unique musical experiment based on these influences. Working for a label with a back catalogue that includes Mr. Scruff, Jaga Jazzist and Hextatic, Swinscoe uses his spare time to create The Cinematic Orchestra. Bringing together a group of exceptionally talented jazz musicians, their debut album Motion is voted album of the year by listeners to Gilles Peterson's Radio 1 show.

Building on similar success with Every Day released in 2002, Swinscoe undertakes a new project: to create a soundtrack to A Man with a Movie Camera, Dziga Vertov's excerpt from a camera operations diary. Released in 1929, his experimental work aims to create 'a truly international language of cinema based on absolute separation from the language of theatre and literature'.

Move forward 79 years and I find myself in London's Roundhouse staring at a peculiar projected image of a slender figure whose head has been replaced by a movie camera. My ticket reads Exclusive Man with a Movie Camera and Ma Fleur Performance. Having anticipated tonight's show for over a month I can't figure out if I'm nervous or just really excited as I accidentally launch my pint at a stranger, then tell him that he should have brought an umbrella.

Entering the auditorium I can't help but crane my neck and look up to a distant domed ceiling bathed in an electric blue ambience. With construction mainly of wood the acoustics are awesome and this is the ideal setting for a band with a very organic sound.

Just then the lights go down and the Orchestra appear on stage to a great reception. As opposed to the singer introducing the band or kicking into their first tune, they stand silent for four minutes as the projected film plays though its intro sequence.

Having already created an aura of suspense and anticipation, the string quartet strike up a first chord. Their sound is incredible. Accompanied by the black and white feature they tell a story through poised musicianship, total composure and a beautiful combination of sound and light that comes together as a coherent monologue. With such energy created by each instrument it's very difficult to highlight a particular aspect of the music. Double bass player Phil France underlines the score brilliantly with rich and driving bass lines; Tom Chant emphasises some real progressions with prominent saxophone sections and drummer Luke Flowers is truly awesome with incomprehensibly good playing that contributes to a powerful sense of theatre. I can really sense the connection of the music to the film where each progression works in complete harmony with the projected cinematic. There's a lovely moment where Pat Carpenter of DJ Food somehow mimics the movement of a camera tripod on his decks.

A second set consists of tracks from the aforementioned release Ma Fleur. Decidedly different from MwaMC, Ma Fluer achieves a mellow deeply-felt aspect whilst retaining a cinematic feel. The addition of Patrick Watson on acoustic guitar highlights the great reverberations provided by Roundhouse, while the vocals recall Pink Floyd's 'Great Gig in the Sky'.

Unfortunately, my write-up doesn't scratch the surface of the emotion created by the music, which only makes sense in the here and now. I completely lose myself over a surreal evening. A real testament to the band; the crowd is still properly cheering a full five minutes after they depart, an encore meanly denied by the appearance of the world's most unfortunate roadie taking down the stage.

Two days on I'm still struggling to get my head around a truly sublime performance. To view this as a conventional concert is misguided; it is a work of art.


If you have a spare hour you can watch the whole film/soundtrack starting here. Give it a few minutes before the music starts and enjoy.

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JHallam