The AFIM awarded Evan Evans with their "Indie Grammy" for Best Cover Design of the year 2000 in music. It is a milestone for Evans in the professional art world. Evans has always had success in art and graphic design and this is a very welcome feather in his cap indeed.
The night was hosted by radio personality Dr. Demento in the Bowl Room of the Regal Biltmore hotel in downtown Los Angeles. Lalo Schifrin was also among the nominees that night, albeit in another category. After Evans recieved the award, Mr. Schifrin came over to his table table to congratulate him on the win.
Here is a trancription of the speech Evans made at the podium:
"I have a prepared a spontaneous speech, so hang on...
I first want to say that it is a special honor to be on the nomination list this year with my mentor and good friend, Lalo Schifrin. Lalo knew my father and has told me some great stories about him.
My father died when I was 5. The material for 'Practice Tape No.1' is from personal recordings that he left behind, no doubt for others to discover. It is my label, E3 Records' first release. I set out to create a label dedicated to the releasing of fine jazz, Classical and Film Soundtracks, culled from my father's preservation material, from other artists, and from my own film scores.
The design for the cover, as well as the whole package, was a labor of love. Working with graphic designer Edoardo Chavarin, I decided to create not only a new retro look visually, but also conceptually. I was aiming to give fans of my father the feeling that they were holding something special, something vintage that you might find inyour own attic after years gone by.
This award inaugorates that dedication to quality.
I want to thank Joe Gastwirt for handling the recordings and mastering with special care...my wife Michele René and our new son Elliot, my mother Nenette, my step-father Fonjé,...Erin, Geannette, Maxine and Herbie Hancock for challenging us to 'think outside of the box.'
Thank you."
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5/05/2001
"Indie Grammy" Award For Best Cover Design Year 2000
The AFIM (American Federation of Independant Music) Award for Art Direction on "Bill Evans: Practice Tape No.1" for the CD releases in the year 2000.
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5/01/2001
Film Scoring! Not Film Music.
Film music is the residue of a film score. It is merely the tangeable version of a film score. What's important to remember is that a master film composer is writing this "music" to a film. They are scoring notes on sheet paper to connect visual emotions with the vibrance and resonance of sound, often music. So, the essence really of a film score has nothing to do with the music, but rather the element that comes out when it is connected with the image.
In some cases the "score" may be sound concréte (based on natural sounds). Even more so, if you take that element away from the film it's inherent will and force is lost, especially if you have not previously experienced the visual connection. You may be able to construe your own connections with your own imaginings, evoking wonderous and furous thoughts, creating an enjoyable experience and like toward the recording, and that might be pleasureable to the ego of the original composer. But nothing will please the composer more than the reflections you express dealing with the element of combination or lack of combination (Bullitt chase scene) between the emoting of his work and the emoting of the film's mechanics (Actors, Visuals, etc.).
Often is the case where a composer experiments with, or even bases his entire style upon, creating a score that works in it's heightened state with film, and simultaneously as solely a listening experience, and even in some cases as stand alone concert works (Magnificent Seven, Altered State) where no one might ever know their link to the art of film. Some composers have been akin to working out a concert version or medley of a score, reshaping the structure and development so that it will fit a concert goers and fellow composers ear.
And in some bold moves, filmmakers are transcending the embodiement of the composer, and "scoring" their films quite intelligently with concert works (Stanley Kubrick, Spike Lee). The results are startling, and always shake things up a bit in the film scoring field. But it is anyone's right to use the power of film scoring. You needn't be a musician, and I may be so bold as to say, you needn't be musical to use it's power. You just need to be able to understand what it is. Film Scoring not film music. Read more...
In some cases the "score" may be sound concréte (based on natural sounds). Even more so, if you take that element away from the film it's inherent will and force is lost, especially if you have not previously experienced the visual connection. You may be able to construe your own connections with your own imaginings, evoking wonderous and furous thoughts, creating an enjoyable experience and like toward the recording, and that might be pleasureable to the ego of the original composer. But nothing will please the composer more than the reflections you express dealing with the element of combination or lack of combination (Bullitt chase scene) between the emoting of his work and the emoting of the film's mechanics (Actors, Visuals, etc.).
Often is the case where a composer experiments with, or even bases his entire style upon, creating a score that works in it's heightened state with film, and simultaneously as solely a listening experience, and even in some cases as stand alone concert works (Magnificent Seven, Altered State) where no one might ever know their link to the art of film. Some composers have been akin to working out a concert version or medley of a score, reshaping the structure and development so that it will fit a concert goers and fellow composers ear.
And in some bold moves, filmmakers are transcending the embodiement of the composer, and "scoring" their films quite intelligently with concert works (Stanley Kubrick, Spike Lee). The results are startling, and always shake things up a bit in the film scoring field. But it is anyone's right to use the power of film scoring. You needn't be a musician, and I may be so bold as to say, you needn't be musical to use it's power. You just need to be able to understand what it is. Film Scoring not film music. Read more...
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