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Usually the music composed to accompany a certain film is written off as merely background material. Yet regardless of the genre, the soundtrack has to work in conjunction with the dialogues and the images in order establish the tone as well as the mood of the movie. In this case, Oliver Samouillan and Project Zlust have made a soundtrack that stands on its own apart from the movie. The award-winning film How I Killed A Saint is based upon the happenings in the Balkans region during the period of civil wars that swept the region mercilessly.
Olivier Samouillan is a French viola player and composer, while Project Zlust is a music collective that makes music which knows no stylistic barriers. The compositions provide a surprisingly rich, full musical experience and the group's taste for intricate arrangements is apparent. The combination of viola, violin, cello, percussion, and double bass creates a unique, emotional atmosphere and the beauty of this release is caught both in simple melodic lines and in a dense sound world. Samoullian's mysteriously layered viola is both haunting and daunting as well as devastatingly provocative in its simplicity and ghostly beauty.
There are too many highlights to mentionlike the opening track, "Finale," "Koga Se Odi," and "Tromegje," with its oriental leaningsbut among the brightest are the Piazzola-esque tracks "Sad Trip" and "Anteo," as well as the forcefully rhythmic "Happy Tune." The material also features two traditional tracks ("Da Znaesh" and "Kir Yana") beautifully sang by Vera Milosevska and Vladimir Pop Hristov (who also plays cello). This soundtrack is a showcase to their musical depth and dreamy style, and the textures are haunting and deeply moving.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.