Bryars Jesus' Blood Never Failed Me Yet
View record and artist detailsRecord and Artist Details
Composer or Director: Gavin Bryars
Label: Point Music
Magazine Review Date: 10/1993
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 438 823-4PTH
Tracks:
Composition | Artist Credit |
---|---|
Jesus' Blood never failed me yet |
Gavin Bryars, Composer
(Anonymous) Orchestra Chorus Gavin Bryars, Composer Hampton Quartet Michael Riesman, Conductor Tom Waits, Singer |
Composer or Director: Gavin Bryars
Label: Point Music
Magazine Review Date: 10/1993
Media Format: Digitial Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 438 823-5PTH
Tracks:
Composition | Artist Credit |
---|---|
Jesus' Blood never failed me yet |
Gavin Bryars, Composer
(Anonymous) Orchestra Chorus Gavin Bryars, Composer Hampton Quartet Michael Riesman, Conductor Tom Waits, Singer |
Composer or Director: Gavin Bryars
Label: Point Music
Magazine Review Date: 10/1993
Media Format: CD or Download
Media Runtime: 75
Mastering:
DDD
Catalogue Number: 438 823-2PTH
Tracks:
Composition | Artist Credit |
---|---|
Jesus' Blood never failed me yet |
Gavin Bryars, Composer
(Anonymous) Orchestra Chorus Gavin Bryars, Composer Hampton Quartet Michael Riesman, Conductor Tom Waits, Singer |
Author:
In calling it a masterpiece, I don't believe that I'm overstating the case. The sum-effect of the work, whether in 1975 or 1993, is rather akin to having the main protagonist placed within a variety of visual contexts: a park bench, perhaps, or a shop doorway, a city thoroughfare, or a field at dusk. For me, each setting seems to reflect the one essential idea simple faith in the midst of life.
But the two versions are in fact quite unalike For the first 25 minutes of the re-make, Bryars keeps his design very much as it was: the old man alone, backed first by a quietly supportive string quintet, then by winds, brass and pizzicato guitar. However, we're en route not for 25, but nearly 75 minutes of continuous music, and the succeeding sections greatly expand on the relatively modest textures of Bryars's original. Cellos, basses, horns trombones, contrabassoon and varieties of percussion carry the piece through five phases, each clothing the voice in a new swathe of sonority—warm, lustrous, sympathetic and deeply nostalgic. The tam-tam is often prominent, as the organ is later on; but the real difference between the old and the new reveals itself in the last 21 or so minutes of the revision, where the grainy voice of Tom Waits casually enters into a posthumous duet (the tramp had died years before), the folksy 'pro' set alongside the tramp's private, restrained musings. Ultimately, Waits is the only voice that survives.
At first, I recoiled, thinking the newcomer too stylized by far. But then, as the work gradually drew towards its high-reaching, ethereal close and Waits himself wandered into the aural distance the idea suddenly dawned: the old man may have died, but his faith lives on. The effect is ultimately poignant, a fitting conclusion to a beautiful work minimalist in its basic musical language, but universal in its message and impact.'
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