Jon Brion Torrent
Brion at The Sunset Tavern in Seattle, September 2004Background informationBorn( 1963-12-11) December 11, 1963 (age 55), New Jersey, U.S.GenresPop, rock, jazz, hip hopOccupation(s)Singer, songwriter, multi-instrumentalist, record producerInstrumentsVocals, keyboards, guitar, bass, drums, trombone, cello, vibraphone, harmonicaYears active1982–presentAssociated acts,Jon Brion (born December 11, 1963) is an American singer, songwriter, multi-instrumentalist, record producer, and composer. He performed with The Excerpts, The Bats, and before becoming an established producer and film score composer.
Brion has produced music for artists like,. His film scores include (1996), (1999), (2002), and (both 2004), (2008), (2012), (2017), and (2018). He released his debut solo album, in 2001. Contents.Early life Brion was born in, New Jersey. He comes from a musical family; his mother, LaRue, was an administrative assistant and singer, and his father, was a band director at.
His brother and sister became a composer/arranger and a violinist, respectively. Brion had difficulties at Hamden High School and at the age of 17 left education, opting instead to play music professionally. From 1980–85 Jon was part of the band The Excerpts, along with Stephen Harris, Dean Falcone, Jim Balga, Bobby Butcher & Spike Priggen.
Career The Bats In the early 1980s, Brion and musician/producer Bill Murphy began a writing collaboration in. They eventually enlisted bassist Don 'Riff' Fertman and together formed The Bats (not to be confused with the of the same name). The Bats released a single, 'Popgun', and one album, on Gustav Records in 1982.
The recordings had much critical acclaim, but little commercial success, and the trio eventually disbanded.Session work In 1987, Brion moved to, where he played solo gigs, formed the short-lived band World's Fair and became a member of the last touring version of 's band. He contributed guitar work to 's 1993 album, and in 1994, joined Dan McCarroll, Buddy Judge and ex-Jellyfish guitarist in the short-lived pop band. He also played guitar on ' hit song ', using a screwdriver that was sitting atop a nearby amp as a slide.
Brion played numerous instruments on ' 1996 release. Brion is featured as keyboardist and drummer on 's 2003 album, and co-wrote a song, 'City of Quartz', for her next work, 2005's.Production After being recognized as an accomplished session player, Brion branched out into production on then-girlfriend Mann's 1993 solo debut, and its follow-up,. He has also produced albums by, and, and co-produced 's in 2005.In the fall of 2002, Brion began producing the album with Fiona Apple, but she later brought in producers and (a friend of Brion's) to complete the album. Brion's versions leaked onto the Internet, where the album gained a cult following long before its official release.Brion worked and performed on some of the tracks for 's 2006 album.
Lennon said that working with him was 'how I would imagine it's like to work with. It's like having a weird alien prodigy in your room.' More recently, Brion has produced recordings by British pop performer, and, as well as 2010's. Brion also produced 's second album which was released in early 2012.
Meaningless Brion was signed to the / label in 1997, but was released from his contract after turning in his solo debut album; the album was released independently in 2001.He is rumored to be working on his second solo full-length album at.Film scores Brion is an accomplished film composer, having started scoring by frequently working with director, with whom he has a preferential working relationship. In addition to scoring many of his films, Brion contributed music to and had a cameo in the film as a moustached guitar player.Particularly in his film soundtracks, Brion is noted for his use of early analog sampling instruments, particularly the and, to create near-realistic emulations of certain instruments.He has earned nominations for his work on 1999's and 2004's.Brion was hired at the last minute to write the incidental music for. He has also scored and provided original music for, (with ), 's and Disney's (with ). He also did live composition for a musical commentary on the Step Brothers DVD.He also composed the score to the Disney/Pixar short film, The Blue Umbrella, working alongside Sarah Jaffe.Touring and live performances Brion is renowned for his regular Friday-night gigs at the Los Angeles club, which feature covers and original songs, a variety of instruments and occasional guest musicians and comedians. He works without a set list, instead using audience suggestions as a jumping-off point.
His extraordinary use of layered loops and frequent adoption of a 'jigsaw puzzle' approach to performing songs (starting often with drums, then adding piano, bass, guitar, and vocals in turn) have captivated the capacity crowds at Largo and earned Brion a strong following. Recent shows have featured spontaneous appearances with singer-songwriter, vocalists and, singing old jazz standards like 'My Funny Valentine', with upright bassist Stephen Patt (ex-), percussionist , bassist (ex-), and fiddler.In April 2006, recurring tendonitis in Brion's right hand forced him to cancel all of his upcoming Largo shows. As a temporary 'farewell', he played one show only using his left hand, even looping his songs as he normally does and playing the drums with one stick.
He is now back to playing at Largo on a regular basis.Recalling his approach to the Largo shows with music editor Lou Carlozo, Brion said: 'I taught my hands to follow whatever was coming into my head—and wherever my consciousness would go, I had to push my hands to follow. And at some level, you just had to abandon any concern about how you’d look. Performing without a set list: That was special.' In March 2016, Brion performed his score for with in both Los Angeles and New York City, at the and the, respectively.
Jon Brion Instagram
Provided guest vocals in New York and in Los Angeles.In February 2018, Brion opened for as part of Mulaney's special, Kid Gorgeous. Brion performed during Mulaney's New York City leg of his tour, playing packed houses at. Retrieved February 8, 2012.
US. Retrieved February 8, 2012. Simons, David (2006). Hal Leonard Corporation. Pareles, Jon (April 3, 2005). The New York Times. Retrieved October 1, 2019., Interview, by Scott Bolohan, The Depaulia.
Jon Brion Torrent 2017
March 15, 2007, at the.,. at. 2:03 p.m. (March 16, 2016). Retrieved March 15, 2017., Animated News, June 23, 2008.
Retrieved January 18, 2019. ^.
Retrieved June 3, 2018. ^ Cite error: The named reference Discogs was invoked but never defined (see the ). Kim, Michelle (December 11, 2016).
Retrieved March 15, 2017.External links. on. discography at. (via the ).
If you're particularly web savvy, you may have seen the previous version of this review up on the site before its replacement with the edition you're reading right now. Here's the story: I crafted the original to be my most ambitious yet- epic in scope, embellished with the richest prose I could possibly summon. But alas, the powers that be were not, as they say, feeling it, and sent me back to the drawing board to craft a review less eccentric and more crowd-friendly. Or actually, maybe I had second thoughts about the original review myself, choosing to self-regulate and take a mulligan. I don't know, it's very confusing; but know that all this vacillation was never for publicity's sake, no, never that.So I can empathize with Fiona Apple, who has gone through a similarly arduous journey on the road to releasing her first album in six years. Earlier this year, Extraordinary Machine appeared destined for Yankee Hotel Foxtrot status, as the nearly-finished album Apple made with longtime collaborator Jon Brion was shelved, then surreptitiously leaked to the world's music thieves. But rather than graciously accepting a starring role in Fuck the Man Rock N' Roll Myth #67, Apple did a do-over, this time working with Mike Elizondo, best known as right-hand man to the good Dr.
Dre.Unfortunately for Apple and Elizondo, that Brion version isn't going away quietly. And now, upon the release of the official retail version, it only makes sense to compare the two- a sort of musical Pepsi challenge- given that they share 11 of 12 songs. The differences are far from subtle: For all but two songs, the title track and 'Waltz (Better Than Fine)', Elizondo overhauled the original takes- or maybe underhauled is the more appropriate term in this case, given the addition-by-subtraction philosophy applied throughout.Apple is a songwriter who can turn every relationship hiccup into a calamitous tragedy, and Brion fittingly applied his production talents with the intent of blowing up her songs to 2.35:1 aspect ratio.
On 'Not About Love' and 'O' Sailor', Brion scored Apple's compositions no less extravagantly than his soundtracking work for the indie-film elite, applying dollops of lush orchestration to place her piano and throwback vocals in an epic frame. Though the material wasn't always Apple's best- 'Oh Well' and 'Window' in particular, sounding a bit through-the-motions- the symphonic presentation kept it interesting and gave the LP a cohesive flavor.Elizondo's approach is more eclectic: Rather than applying copious amounts of strings, he employs bits of organ, backwards loops, and busier drumming to flesh out Fiona's sound. But the fleshing out is kept skeletal, so as not to distract from the central elements of Apple's voice and piano.
Though the Brion version was likely unmastered, it's still striking how much the emphasis has shifted from a broader sound to Apple's contributions alone, like demos in reverse. Baixaki corra que o agente voltou dublador. You can also pour a 40 out for fallen countermelodies, as Elizondo hacks away Brion's embellishments upon 'Not About Love' and 'Window' in his efforts to keep the spotlight fixed solely on the star.Not to say that there aren't moments where Elizondo either improves or offers a valid alternative to the Brion takes, as 'Tymps (The Sick in the Head Song)' remakes the routine 'Used to Love Him' with twitchy synth-bass and 'Oh Well' benefits from a stronger vocal take.
The dreamy 'O' Sailor', meanwhile, refuses to be ruined, though the new version knocks the original out of its cosmic moody-blue orbit by insultingly replacing actual strings with the synthesized variety. Not so tamper-proof are the triplets 'Red Red Red' and 'Please Please Please', the former losing most of its drama thanks to a dull ambient backdrop, the latter ironically softening its single-ready punch on what's supposed to be the more traditionally commercial album.The officially released version of Extraordinary Machine remains a decent-to-good album, one that showcases Apple's considerable vocal and key-pounding talents. In its new clothes, the album fits alongside her prior two albums, with only the slightly less consistent material bringing it down a peg. The shame of it all is that Apple, after six years of silence, could've made a more definitive, progressive statement rather than something familiar and similar- and we've got the bootlegs to prove it.