Samuel Hollis & Tara Cunningham - Music For Moving Pictures II EP Review
Attesting to the beauty of simplicity, Music For Moving Pictures II sees cinematic themes stripped to their core. The result is a rewarding, imaginative listening experience.
There is an incredible amount of depth and intricacy to be found in just two instruments. On their new EP Music For Music Picture II, upright bassist Samuel Hollis and guitarist Tara Cunningham take another swing at reinterpretations of classic movie scores, with no safety net. With such technical deft at their respective instruments and a comprehensive ear for rearranging melodies steeped in cinematic heritage, it makes for a refreshing listen.
The EP starts with ‘Can’t Help Falling In Love’, a 20th century love standard. Improvisational starts from both instrumentations are akin to an orchestra tuning itself up as they find each other’s levels, before launching into melodies and harmonies that simultaneously move step by step away from each other on arpeggios while maintaining sonic cohesion. Syncopated lines from Hollis’ double bass add a welcome twist, and the pair’s use of sevenths and jazz cadences, as well as Cunningham’s intricate fingerpicking, create a renewed but nostalgic reimagining. The duo’s strengths equally lie in bringing out the bright and dark tones in their instruments. On the next track, the love theme from Cinema Paradiso, Cunningham’s vibrant higher register carries the early melody, while later on Hollis’ double bass brings a needed richness in its lower register, but without sacrificing any of the rhythmic improvisations that keep the song so engaging. Their interplay in switching roles between melodies and harmonies remind you of the excitement you feel when jazz musicians only need a subtle nod to synchronise themselves.
‘Waltz in C Minor’, a cut from the film I Origins, falters slightly. Cunningham’s plucking lends a slightly abrasive tone. While undoubtedly intentional, perhaps to infuse the track with a folky waltz tone, it seemed slightly at odds with Hollis. The duo sacrifice the fluidity of the original piano for a more creative, haunting rendition, but one that is marginally lacking, at least without the help of other instruments to truly push this concept through. The EP closes with ‘Edelweiss’ from The Sound of Music, with both instrumentalists finishing incredibly strong. Cunningham’s guitar carries the familiar melody with a rich, warm tone, with witty embellishments along the way while Hollis matches it by creating a strong net to ensure each note resonates to its fullest. In a final flourish at the end, the pair dance around each other, dance around their chord roots, sometimes even sounding as if they’re on diverging visions before reminding us that they know exactly what they’re doing with a satiating finish.
Music for Moving Pictures II is a terrific demonstration of just how much you can achieve with a couple of string instruments. Cunningham and Hollis demonstrate not only their technical prowess but also their intuitive understanding of the original songs, as well as of each other’s musical tendencies. A truly rewarding listen for those that enjoy songs pared right down to their core.