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Puffs of Smoke Proposal. Supplement 1: New Music for Silent Films

Phillip Johnston conducting his score for Tod Browning's The Unknown

Phillip Johnston:
New Music for Silent Films

Phillip Johnston’s first live performance of an original score for historical silent film was commissioned by the American Museum of the Moving Image, and premiered at the Silent Movies: Loud Music festival on 19 Sep 1993. That film, Tod Browning’s The Unknown (1927), starring Lon Chaney and the then 19-year-old Joan Crawford, with Johnston’s score, began a 30+-year body of work, including multiple feature films, numerous short films, and related multimedia works (such as Wordless! [2013] with Art Spiegelman).

The most important of these works, aside from The Unknown, are The Merry Frolics of Méliès (1899-1907), a collection of eight short films including the iconic “Trip to the Moon”; Teinosuke Kinugasa’s Japanese Expressionist masterpiece Page of Madness (1926); F.W. Murnau’s Faust (1926), and Lotte Reiniger’s silent silhouette animation The Adventures of Prince Achmed (1926). In addition to the 12 works that combine comics/comix and music in Wordless!, recent works include comics He Done Her Wrong (Gross, 1930), Big Head Pointy Nose (Pratap, 2022) and Buster Keaton’s short film masterpiece, and Cops (1922).

Over the last three decades, he has performed these works widely in the US, Europe and Australia, at cinematheques, film and music festivals, universities and local movie houses. Australian venues include The Sydney Film Festival, Sydney Opera House, Sydney Vivid, Melbourne Festival of the Arts, MONA FOMA, Woodford Folk Festival, Revelation Perth Film Festival, Australian Centre for the Moving Image, National Film and Sound Archive and Melbourne International Jazz Festival. (list of US and international venues upon request).

In 2015, he completed a PhD in Music Composition at the Newcastle Conservatorium, University of Newcastle, with the thesis title: ‘The Polysynchronous Film Score: The Relationship Between Music and Image/Narrative In Contemporary Scores For Silent Film’. He expanded these ideas in his book Silent Films/Loud Music: New Ways of Listening to and Thinking about Silent Film Music (Bloomsbury, 2021; paperback published in 2023).

His work has been commissioned by the American Museum of the Moving Image, the Film Society of Lincoln Centre and the Sydney Opera House. His career as a composer of music for sound films includes, Philip Haas’ The Music of Chance (1993), Paul Mazursky’s Faithful (1996) and Henry Bean’s Noise (2008). He has taught music composition for film for the last 25 years at NYU, AFTRS, University of Sydney, the Sydney Conservatorium of Music, and the Australian Institute of Music, among others.

In 2018, he was awarded the Johnny Dennis Award for Film Music Composition ($20,000).

His new current project is Puffs of Smoke: Weird and Wild Artifacts from the Early Era of Australian Silent Film, a study of short works, with original music performed live by the composer on solo saxophone, with electronic and pre-recorded accompaniment.

Phillip Johnston: New Music for Silent Films: list of performances.

The Unknown (Browning, 1927)

19 Sep 1993 The American Museum of the Moving Image, NYC (premiere)
1 Oct 1993 Boston Museum of Fine Arts, Boston, MA
9 May 1994 Philadelphia Festival of World Cinema, Philadelphia, PA
30 Oct 1994 Teatro Verdi, Rome, ITALY
23 Feb 1996 Demarest School, Hoboken, NJ
21 Jun 1996 Mellon Jazz Festival, Philadelphia, PA
6 Aug 1998 Celebrate Brooklyn Festival, Brooklyn, NY
26 Jan 1999 World Financial Center, NYC
28 Aug 1999 Mass MoCA, North Adams, MA
22 Oct 2000 American Museum of the Moving Image, Lon Chaney Festival, NYC
11 Jan 2001 Avoca Beach Picture Theatre, Avoca Beach, NSW, AUSTRALIA
14 Jan 2001 Fox Studios, Fringe Festival, Sydney, AUSTRALIA
21 Jan 2001 Uniting Church, Fringe Festival, Sydney, AUSTRALIA
26 Jan 2001 Big Day Out, Homebush Bay, NSW, AUSTRALIA
27 Oct 2001 Virginia Film Festival, Charlottesville, VA

The Georges Méliès Project (8 films, Méliès,1899-1907)

15 Nov 1997 Walter Reade Theater, Lincoln Center, NYC (premiere)
20,21 Feb 1998 Demarest School, Hoboken, NJ
28 Mar 1998 Teatro Verdi, Florence, ITALY
10 Oct 1998 Time & Space Limited, Hudson, NY
19 May 1999 Cleveland Institute of Art, Cleveland, OH
20 May 1999 Wexner Center, Columbus, OH
6 Oct 2000 Erie Art Museum, Erie, PA
7 Oct 2000 EdgeFest, Kerrytown Concert House, Ann Arbor, MI
8 Oct 2000 Indiana University, Bloomington, IN
8 Mar 2006 EtnaFest, Catania, ITALY

22 Aug 2010 Screen Live, Sydney Opera House, Sydney AUSTRALIA
15 April 2012 Parramatta Riverside, Sydney AUSTRALIA
12 May 2012 Randwick Town Hall, Sydney AUSTRALIA
08 July 2012 Revelation Perth Film Festival AUSTRALIA
07 Sept 2012 Avoca Beach Picture Theatre AUSTRALIA
12 June 2016 Penn Museum, USA (Relache)
30 Dec 2016 Woodford Folk Festival, QLD AUSTRALIA
13 July 2019 La Perouse Museum, Sydney, AUSTRALIA
21 Oct 2022 Melbourne International Jazz Festival
(Darebin Arts Centre) AUSTRALIA

Page of Madness (Kinugasa, 1926)

9, 10 July 1998 Walter Reade Theater, Lincoln Center, NYC (premiere) USA
5 Mar 1999 Massachusetts Institute of Technology, Boston, MA USA
23 Jan 1999 Duke University, NC USA
26 Aug 2000 Time & Space Limited, Hudson, NY USA
22 June 2008 State Theatre, Sydney Film Festival, Sydney, AUSTRALIA

Faust (Murnau, 1926)

05 Oct 2002 New York Film Festival, Walter Reade Theater, Lincoln Center, NYC, USA (premiere)
26 Jan 2003 Teatro Manzoni, Apertivo in Concerti, Milan, ITALY
06 Feb 2003 Mass MoCA, Massachusetts, USA
07 Mar 2004 The University of the South, Sewanee, TN, USA
11 Jun 2004 Slovenska kinoteka, Ljubljana, SLOVENIA
12 Jun 2004 UBI Jazz Festival, Venice ITALY
13 Jun 2004 La Palma, Rome ITALY
16 Jun 2004 Brugge, BELGIUM
17 Jun 2004 Antwerp, BELGIUM
11 Dec 2004 Merkin Hall, New York USA
20 Jun 2005 Garda Jazz Festival, Lake Garda Jazz, ITALY
21 Jun 2005 Roma Jazz & Image Festival, Rome ITALY
22 Jun 2005 Cinemazero, Pordenone ITALY
23 Jun 2005 Rote Fabrik, Zurich SWITZERLAND
10 Sep 2007 German Film Festival, Seymour Centre, Sydney, AUSTRALIA
10 Oct 2008 ACMI, Melbourne, AUSTRALIA [Melbourne Int’l Festival of the Arts]
11 Oct 2008 ACMI, Melbourne, AUSTRALIA [Melbourne Int’l Festival of the Arts]

The Adventures of Prince Achmed (Reiniger, 1926)

17 May 2013 Randwick Town Hall, Sydney, AUSTRALIA
15 Sep 2013 Parramatta Riverside, Sydney, AUSTRALIA
07 Jun 2014 Sydney Vivid Festival Sydney, Australia
17 Jan 2015 MONA FOMA, Hobart, Tasmania, AUSTRALIA
07 Jun 2015 The Capital Jazz Project, Canberra, AUSTRALIA
25 June 2016 Springwood, New South Wales AUSTRALIA
28, 29 Dec 2016 Woodford Folk Festival, QLD AUSTRALIA
26 Sep 2020 Chauvel Cinema/Goethe Institut. AUSTRALIA
27 Sep 2020 Chauvel Cinema/Goethe Institut. AUSTRALIA
02 Oct 2020 NFSA (National Film & Sound Archive), Canberra. AUSTRALIA.
20 Jan 2021 Bangalow Film Festival, Bangalow, NSW AUSTRALIA
26 Feb 2021 Fed Square/ACMI, Melbourne, VIC, AUSTRALIA

Wordless! (with Art Spiegelman, 2013)*

05 Oct 2013 Graphic Festival, Sydney Opera House, Sydney, AUSTRALIA
18 Jan 2014 Brooklyn Academy of Music, New York, USA
22 Jan 2014 Colorado College, Colorado Springs, USA
24 Jan 2014 University of Chicago, Chicago, IL, USA
08 Oct 2014 Oberlin College, Oberlin, OH, USA
10 Oct 2014 UC Berkeley, Berkeley, CA, USA
12 Oct 2014 Seattle, WA, USA
14 Oct 2014 USC, Los Angeles, CA, USA
15 Oct 2014 UCLA, Los Angeles, CA, USA
17 Oct 2014 USCSB, Santa Barbara, CA, USA
19 Oct 2014 Kaufman Center, Kansas City, MO, USA
21 Oct 2014 Lisner Auditorium, George Washington University, Washington DC, USA
26 Oct 2014 Institute of Contemporary Art, Boston, MA, USA
13 Mar 2015 Miller Theatre, Columbia University, NYC, USA
10 Mar 2015 Williams College, Williams MA, USA
20 Sep 2015 Comicópolis, Buenos Aires, ARGENTINA
11 Nov 2016 London Jazz Festival, Barbican Centre, London UK
17 June 2018 Philharmonie de Paris, Paris FRANCE

 

Silent Shorts (3 films)
He Done her Wrong (Gross, 1930)*,
Cops (Keaton/Cline, 1922),
Trip to the Moon (Méliès, 1902)

02 Dec 2022 Australian Centre for the Moving Image (ACMI)/Federation Square, Melbourne, AUSTRALIA

*Wordless! and He Done Her Wrong are not silent films per se. Wordless! is a live performance involving projection of images from graphic novels and comics, projected as enhanced slide shows, combined with a lecture by Art Spiegelman, and accompanied by a live band. He Done Her Wrong is an extended version (20 minutes) of one of these, encompassing the entire graphic novel.

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The Microscopic Septet

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Protected: Puffs of Smoke – A proposal

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Postcard 1: Black As The Kaiser’s Heart

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Fast ‘N’ Bulbous Reviews

LET THE CRITICS SPEAK:

“… Led by saxophonist Phillip Johnston and featuring ex-Magic Band guitarist Gary Lucas, Fast ‘n Bulbous proved that Beefheart’s songs deserve to be played in his absence and are, for all their knotty logic, quite PLAYABLE. It was odd to see four hornmen reading charts as they tore through the messy ecstasy of “When Big Joan Sets Up,” from 1969’s “Trout Mask Replica.” But Johnston’s brass scores hit the R&B meat and twisted swing that Beefheart embedded in spidery guitars. “Pachuco Cadaver,” also from “Trout Mask”, became a New Orleans marching-band romp. A power-trio medley of “Click Clack” and “Ice Cream for Crow” with Lucas on searing bottleneck guitar celebrated the rock in Beefheart’s extremes. Beefheart never became the star he felt he should be. Yet on nights like this, it still seems possible–if he’d just come back.

– David Fricke, The Rolling Stone.

“…the all-instrumental Fast ‘n’ Bulbous slammed into Trout Mask’s “Pachuco Cadaver,” replacing Beefheart’s vaguely licentious Howlin’ Wolf vocals (“She wears her past like uh present/Take her fancy in the past”) with rich, brassy harmonies that illuminated the epigrammatic contours of the composer’s earthy expressionism.

Fast ‘n’ Bulbous didn’t try to replicate the Magic Band’s unique deployment of parallel themes in differing tempos and keys. And while I missed John “Drumbo” French’s almost linguistic drum parts, I fell completely for the rampant party spirit that pervaded “Veteran’s Day Poppy,” “When It Blows Its Stacks,” and “Tropical Hot Dog Night.” The band’s joyful noises did justice to Beefheart’s nature-boy ardor for flesh and grit, in anticipation, let’s hope, for some after-school specials down the line.”

– Richard Gehr, The Village Voice.

“…as if by magic, the musicians began to grow fractious and obstreperous, with the horn players tugging in opposite directions from the core of “Abba Zaba,” chattering and arguing like squirrels engaged in a turf battle. That sound, at once grating and charmingly nature-rooted, would’ve made Beefheart proud. The same could be said for the band’s deconstruction of “When Big Joan Sets Up” (a piece that’s loopy even by Beefheart standards): Braying, giggling and cajoling brass elements — and wiry contributions from a slyly grinning Lucas — converged, creating a veritable carnival midway onstage.”

Reuters

“…As arranger, Mr. Johnston had some clever ideas: he turned Mr. Van Vliet’s art-brut soprano-saxophone playing into notable material and assigned some slide-guitar parts to the trombone. The rhythm section, the bassist Jesse Krakow and the drummer Richard Dworkin, had a tough job in playing these saw-toothed, broken-field rhythms; they came close to the intended sound, and Mr. Krakow in particular played every nuance of the originals. The set kept returning to “Trout Mask Replica,” Beefheart’s masterpiece. From it, the band played the jerky “Pachuco Cadaver”; “The Blimp,” with its nutty recitative; the tearing-tempo “When Big Joan Sets Up”; “Veteran’s Day Poppy.”

– Ben Ratliff, The New York Times

“…Fast ‘N Bulbous play it just right. For starters, they are all excellent, exploratory musicians and cope with the structure of even the “Trout Mask” songs with great aplomb; “Pachuco Cadaver” had all the obtuse correspondences of instruments – and sudden time changes plucked from the ether – down brilliantly. The guitar and bass parts were spot on and only an ultra nerd/pedant would criticise the drummer for not playing John French’s parts exactly beat-for-beat. Anyway that wasn’t the point he got under the skin of the rhythm in a freewheeling, French-ian style and hit all the cues spot on. Meanwhile, Gary has obviously done his homework and got all the knuckle-busting chords down, and the bass player is a dextrous monster. I’m not surprised the crowd were baying in between the pieces.

The group’s big, physical yet intricate sound was a joy to hear for both the Beefheartophile and, I’m sure, for the merely curious. I was expecting it to be good but my expectations were surpassed in grand style. Who knows? Maybe even Don would have liked it.”

– Mike Barnes, Wire writer, and author of “Captain Beefheart.”

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Somebody Else

Somebody Else  Words and music by Phillip Johnston

This song was sung by Nora York with her band Combo Cocktail. This recording features Nora York: vocals, Phillip Johnston: alto saxophone, Bob Montalto: piano, Dave Hofstra: bass, Richard Dworkin: drums. It was recorded in 1986, and used in Doris Dörrie’s film, Paradise.

 

She later recorded it with a different band on her CD To Dream The World.

Download lead sheet for Somebody.Else

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Guy Klucevsek/Phillip Johnston Duo trivia

Jazz 0027

Phillip Johnston composed the ‘Pontius Pilate Polka’ for Guy Klucevsek’s Ain’t Nothing But A Polka Band, which premiered the piece at the BAM Next Wave Festival, and subsequently recorded it on his double CD Polka From The Fringe in 1992 on Eva Records. It has recently been re-released  on Starkland Records.

Guy Klucevsek played accordion of Phillip Johnston’s silent film score for F.W. Murnau’s Faust (1926) at the premiere in 2003  at the New York Film Festival at Lincoln Center, and subsequently on tour in Europe.

Phillip Johnston and Guy Klucevsek both played in Nora York‘s band Combo Cocktail (along with Richard Dworkin and Dave Hofstra).

Guy Klucevsek recorded Phillip Johnston’s composition ‘Birds’ on his solo accordion CD, The Heart of the Andes (W&W).

 

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Manhattan Moonrise

The Microscopic Septet: Manhattan Moonrise

Released released May 27, 2014 via Cuneiform Records 

Manhattan Moonrise is the 3rd release by The Microscopic Septet since reforming and their 7th release overall. In the liner notes, Phillip reflects on the band’s history and why there is still a Microscopic Septet, and in doing so, I think he reveals a lot of what makes this band so special.

“I think the initial impetus for the band was two-fold. First it was to express our love for the wonderful ensemble-driven jazz tradition exemplified by practitioners as diverse as Jelly Roll Morton, Duke Ellington, John Kirby, Raymond Scott, Charles Mingus, Sun Ra, and the Art Ensemble of Chicago. Second was to bring back the jazz-as- entertainment vibe of bands like those of Louis Jordan and Cab Calloway, while playing music that was resolutely “modern.” … to me, the value of it speaks to the importance of uniqueness, individuality, quirk. Now every Hollywood movie pays lip service to this hoary ideal, even as corporate diversification and the commodification (and digitization) of every aspect of our lives runs rampant. But who’s your quirky daddy now?

Does the world need the music of Harry Partch, Raymond Scott, Joseph Spence, Captain Beefheart, Conlon Nancarrow, Van Dyke Parks, Charles Ives? Maybe it does, maybe it doesn’t. Maybe it does, but it thinks it doesn’t. Maybe most of the world doesn’t know it exists…. But to be part of something like that is not something I’ll give up without some serious thought. And when I came back to it in 2005, I thought this is just too good an opportunity to miss out on. I think I’ll follow it just a little longer and see where it goes.”
 

Media

Voted the #5 jazz group in the 59th annual DownBeat critic’s poll.

“Ever since its cutting-edge debut, 1983’s Take The Z Train, there has been an air of mystery and mirth surrounding The Microscopic Septet. . .There’s a whole lot of quirk here, but it’s always on the joyous side, a quality perhaps best represented by the title track, which stands as Forrester’s streamlined answer to Glenn Miller’s “Chattanooga Choo Choo. . . An eclectic bunch of kindred spirits still doing it against all odds.”

★★★★ (4 stars)
Downbeat Magazine (Bill Milkowski)

“They’re still the finest retro-futurists around.”
– The Village Voice

“…they remain one of New York’s most distinctive and entertaining groups.”
– All About Jazz New York

“…splendid fun.”
– JazzTimes

“…equal parts zaniness and braininess…”
– The New Yorker

Albums by The Microscoptic Septet

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Lobster Leaps In

The Microscopic Septet: Lobster Leaps In Released September 17, 2008 via Cuneiform Records “…sounds like someone mistakenly booked the Art…

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Boggy Creek Bop

SNAP: Boggy Creek Bop

Released: 2010, Rufus Records, SNAP

Personnel

Phillip Johnston leader, soprano and alto saxophone
Paul Cutlan alto saxophone
Sandy Evans tenor saxophone
Nick Bowd baritone saxophone

This Australian saxophone quartet jump from fiery improvisations to complex written music at the drop of a beat, featuring American expatriate Phillip Johnston (Microscopic Septet) and three of Sydney’s finest saxophonists – Sandy Evans, Paul Cutlan and Nick Bowd.

“…the writing is brilliant, combining a sophisticated mix of unisons, chorales, solos, counterpoint and free-blown sections, which transition organically and come alive through the dynamic playing of each hornist.”

–Tom Greenland, New York City Jazz Record

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Rub Me the Wrong Way

Phillip Johnston: Rub Me The Wrong Way

Released in 2004 via Innova

This CD features a series of compositions written and performed live for the choreographer Keely Garfield, for several different groups, over the late 90s. They have been described by critics as both ‘sweet’ and ‘sourly bouncy’.

Purchase the album from Innova Records

“Immensely charming and just a bit wonderfully weird.” 

– Bruce Gallanter, DMG

“Fans of Nino Rota, Frank Zappa and John Zorn will find much to admire. 

– John Shand, Sydney Morning Herald