Pont Mirabeau: Songs 2000-2002
A CD by Marc
Taliesin's Riddle, Laxmi Music, New Orleans
download "Shanghai to Seattle
no secret in these cobwebbed halls to hear Marc Ellis' fanatical devotion
to composing for film, stage and video has brought melodies of the infamous,
"The Fantomas Waltz" and "HOI!" creeping up the hills of Hollywood. Each
score was created for the film: "F", starring Terrence Stamp, based somewhat
on the Fantomas stories. (1)
God (anyone!) help us, for Ellis is making
mischief of music again! Another occasion where a persistent glint of
brilliance winks its way between the creases of Her watchful gaze. Orfeu
Negroi has faded on into an emergent dawn. Black widows scurry away as
Her amphitheatre parts wide the curtain, revealing a rare star of media's
newest hour appearing on the spot lit soundstage.
En guard! Marc Ellis, renowned cosmo-jaunter,
has reversed his shadowy playwrights' cape -- to wrap his accomplished
innovation of harmonic notes -- around an uplifting melody haunted by
the phantasmagoric. A song portraying a lover transporting l'esprit of
the beloved tenderly entwined within his own -- across expanses of the
planetary body in a rhythmically undulating tempo -- becomes an "S.O.S.".
Or "SHANGHAI - o(h) -[help me someone,
-O- Life; like where are you, baby] - SEATTLE." ["Calling passengers.
. . . . now traveling, from 'Shanghai to Seattle'.....boarding passes
please, this way. Step lively, prepare for take off, do you dare. . .
. . hand over your hearts."]
In his vocal version of "Shanghai to Seattle"
-- composer, Marc Ellis employs an innovative opening technique of background
'airport interference' -- a surreal paging of the present into a sense
of the impermanence of separation, travel, and human communion. This effective
tool remains a constant in a tune unwinding in a joyful, transcendental
beauty -- reminiscent of the compositions of Antonio Carlos (Tom) Jobim
-- whose spectacular Latin legacy has greatly influenced the PONT MIRABEAU
composer's own history.
The craftsmanship applied in Ellis' sparkling
flow of "Chinese Lunar New Year Parade music" effects, grace of his outrageous
addiction to keyboarding and synths -- colorfully weaves through a sensuously-charged
Bossa Nova beat -- and calls for atmospheric interpretation. Wed this
to the nuance of emotionally compelling lyrics transporting fictional
characters and listening audience alike -- in his air-to-land sensitively
narrated drama -- onto a film set of lovers yearning, internationally.
A wistfully anguished air, rising from those who sincerely cannot help
but love, virtually intoxicates a heart into romantic syncopation.
Safe arrival and passage through customs,
occurs via mystical transportation on an Eastern Oriental AirExpress of
richly textured soundscapes. Ellis virtuosically achieves a blending of
tonalities: energizing with soothing -- mastering once again (like Jobim)
this dreamy, exotic haze -- gliding on moods' lyrical planes, as does
his passenger. Such sonic extravagance calls for elaborate mercurial spellbinding,
to overcompensate for the composers' alleged melancholia. This breathless
reviewer obviously is hopelessly ensnared.
A crimson silken dragon awakes from cultural
slumber -- threads its resonance through a subterranean plot of playful
reinvigoration, vibrato interruptus -- a la jet plane! In a pulse expressive
of a quietly desperate desire -- unusually focused through the dead steel
strings of Marc's 29-year-old Guild -- the PONT MIRABEAU Ensemble guitarist
strums the dashingly romantic, entertains the eternally nostalgic, and
finger-picks the impossibly erotic. A softness of voice balances a vibrational
underlying insistence, of intents' longing for intensity.
Whether music to dance to, love to or fly
by -- "Shanghai to Seattle's" vapor trails of listening satisfaction --
soar onto the scale at a perfect 10 per metric measure. Paralleling the
history of Bossa Nova itself as an awakening movement between worlds in
musical consciousness, Marc Ellis' masterful mixing of genre styles represents
a smooth runway, to a new velvet revolution on the sound and airwaves.
(1) Howard A. Rodman Writer/Director. Produced by Laurie Parker of Clementine
Productions in Hollywood, California.