Label: Blue Note
Country: Belgium
Release Date: 2008.10.13

Buscemi’s music, is based on rhythmic beats, and quite a few of his songs have a melancholy feel. “I have some of that flowing through my veins, that’s a fact,” he confirms. “I’m a child of the early 80s; I love a band like New Order.” A year ago, the creative team at Brussels’ Beursschouwburg arts centre asked the musician to write a score for a silent film. Without hesitating, Buscemi opted for The Man with the Movie Camera, an experimental documentary made by the Russian director Dziga Vertov in 1929. Famous for its groundbreaking techniques, the film follows daily lives of various Russian people in Odessa and other cities. “I saw it when I was young, and it made a lasting impression,” he explains. “I watched it again once I got the request, and the film seemed to beg for music.” He’s not the only electronic musician who’s ever thought so. Both Biosphere and The Cinematic Orchestra have scored The Man with the Movie Camera. “I didn’t know that when I made my choice, and I decided not to listen to their music,” Buscemi says. He collaborated with Michel Bisceglia, a Belgian jazz musician of Italian descent, on the soundtrack. Well collaborated might actually be a strong word for it. “I made an electronic basis and then sent it to Michel. Without discussing the music, he adorned it with arrangements for piano, cello and some horns.” Buscemi’s blind trust in Bisceglia comes out of their intense work together on Jazz Works. “The album is born out of a real collaboration,” says Swartenbroekx, who chose 10 songs from his four previous albums (“Our Girl in Havana” and “Camino Real” are probably the most famous) that the two of them transformed into jazz. “My biggest fans might not even recognise them anymore,” he says. “The link with dance has almost completely evaporated; I like to call it late-night jazz.” The album also contains two new songs.” (in flanders interview)