Elsewhere: Moody score stands alone

By Graham Reid

ELENI KARAINDROU

Eternity And A Day

(ECM New Series/Universal)

The work of Greek composer/pianist Karaindrou is as synonymous with the films of Theo Angelopoulis as Ennio Morricone's were with Sergio Leone's spaghetti westerns.

There's a difference, of course.

As in the past, Karaindrou's elegant, sometimes moody score reaches towards some of the folk elements of the region to create highly structured music which stands separate from its filmic purpose. Which is good because it's highly unlikely we'll see the film Eternity And A Day - a Golden Palm-winner at last year's Cannes festival - around the multiplexes soon, despite the appearance of Bruno Ganz in it.

Here, with an ensemble which includes accordion and mandolin alongside oboe, bassoon, clarinets and french horn, the film music has been reprogrammed, apparently, to give an overall arc from a monochromatic string drone, then solo piano, into the ensemble pieces (which include the swirling, romantic theme; tantalising, evocative snippets of a traditional wedding dance; and some romantic accordion), and on to the restful, lyrical coda.

The film is about an acclaimed poet diagnosed with terminal cancer. Director Angelpoulos says he only shoots in winter ("Sea, water, mist - I can't resist them, that's the way I project my inner landscape") which will give some clue to the overriding mood of the music: solemn, possessing a curious stillness; simple and elegiac.

It won't be the warmest album you hear this year but it is quietly affecting, subtle and poised.

***

ALSO RAN

Honky-tonk roots singer/guitarist Rose Flores has a small but loyal following here on the strength of her sometimes energetic punk country-to-Texas swing rock, and a catalogue of smart songs. Dance Hall Dreams (Rounder), recorded over two nights in San Antonio, finds her firing off Little Bit More in the manner of Asleep At The Wheel, drops back to twanging country ballads (Tremelo), gets sentimentally vapid (Who's Gonna Fix It Now?), tosses in a funky blues (The Man Downstairs) and politely rocks out a little. It's good enough with its steel guitars and fiddle colours, but she's mostly over-earnest and often sounds uncommitted on the by-numbers rockers. Disappointing.

Robert Cray's last album, Sweet Potato Pie - recorded at Ardent Studios in Memphis with the Memphis Horns - reminded me just how consistent and maligned this exceptional soul-blues artist has become. Ten albums (most of them unheard by those who are quick to condemn him for his suave smoothness) and he is still carving out intelligent, sometimes penetrating, urban blues. Take Your Shoes Off (Ryko/Festival) again calls up the Horns and cajun accordionist Jo-El Sonier among others, and while it won't turn any newcomer's head, it is the same smooth-running, well-crafted blend of Stax-lite and suburban soul. And, boy, hasn't he been unlucky in love?

Death is not the end as the repackagers of Elvis and Jimi know. Frank Zappa lives on, too. Son Of Cheap Thrills (Ryko/Festival) is another primer for anyone still unfamiliar with this uncategorisable genius who gave pop a bad name by talking dirty, and miffed the classical world by treating its musicians as Hitchcock treated actors ("like cattle.") This sampler veers from doo-wop (straight and parody) through to avant-classical and avant-metal, and the customary deconstructed jazz. It's like a colour chart, but about as useful if you are trying to imagine the (very) big picture.

Various folkists from north of Hadrian's Wall turn up on Folkal Point: Edinburgh (GreenTrax), a 16-track compilation which includes Shooglenifty, Anam, Tony McManus and Martyn Bennett.