That’s My Jazz is a short (14 mins) documentary that details the story of pastry chef Milton Abel II. He is the son of renowned Kansas City jazz musician Milton Abel Sr who made a name in the local jazz circle. The documentary is a beautifully shot piece that tells the story from the perspective of Abel II- reminiscing about life growing up the son of a famous jazz musician and how it would ultimately shape his own life as a pastry chef.
The documentary was made by Breakwater Studios and aside from it being visually arresting, it is a very well put together story of the oft-complex relationship between fathers and sons. The crux of the story is the question Milton Abel II has asked himself- would he trade his successful career as a pastry chef to have stayed home to take care of his aging father?
As the film opens, he states
“If you were to put a button in front of me today where we would go back and I would say ‘no’ to the French Laundry and stay at home with my dad, live in a split-level apartment, take care of him, I would hit that button.”
Abel Sr. passed away some 12 years ago and the film asks the hard question of whether or not one should forgo the potential of a future for familial responsibility. One that Abel II clearly answers.
However, the film isn’t just about this moral dilemma, it is also about the connection one has with their craft. In this case, the similarity between the dedication it takes to be a renowned pastry chef and that of a legendary jazz musician. The film is soundtracked by jazz’s timeless sound, adding to the short film’s remarkable resonance. As the film concludes, we find that there is a circular grace to life- and that the choices we make going forward will at times find its way back to the beginning.
In an interview with The Daily Beast, Abel II says with simplicity, that in the end regardless of your work, your children care about one thing above all;
“They don’t care if dad is a great pastry chef. They just care that dad is a great dad.”
If you have 15 minutes, That’s My Jazz is well worth your time.
Corridor get animated on “Topographe” music video
Montreal indie rock band Corridor have just released the animated music video for their new track “Topographe”. The band recently signed to long-serving label Sub Pop Records and are preparing for the release of their new album Junior, due October 18th. The francophone band recently spoke about the idea behind the Monty Python-inspired video, with band member Jonathan Robert stating;
“It’s a melting pot of stop motion, green screen, illustration, animation, collage, and live video. It’s the visual equivalent of the progression of the song, a simple idea that takes amplitude through repetition.”
Formed in 2012, Corridor released their debut album Un Magicien En Toi in 2013, sparking their trademark dazzling guitar-infused indie rock. Junior is their third full length album and was produced by Emmanuel Éthier, who produced the band’s 2017 album Supermercado.
After the release of Junior, Corridor will embark on a North American/European tour through the close of the year, hitting the US, France, the UK, Germany, and Canada. Tour dates can be found on the Subpop page while various pre-order options for Junior over at the band’s Bandcamp page.
Check out the music video for “Topographe” above. Très bien.
Western Australia punks The Decline talk “Brovine” video
“How else will they get their protein?”
Western Australia punks The Decline are currently prepping for the release of their new album Flash Gordon Ramsey Street, so naturally, they’re quite busy. The band have just announced a brand new Australian tour through October with Nerdlinger that will see the band hit all the major cities through Australia on a 12-date trek. But before the all of this madness, we spoke to guitarist and vocalist Ben Elliott about their animated music video for the Vegan-anthem “Brovine”, a song about sticking it to the meatheads and meatlovers of the world.
The track is just one of the great tunes on their brand new album- an album that is chock-filled with concise, up-tempo, no-frills skate punk that will entertain as much as it contemplates the lives of young punks in Australia and the world.
How did the idea for the video come together?
Elliott: I think the idea for the video came together pretty organically. The song definitely has some purposeful imagery and Fox worked really well with it and understood where the whole thing was coming from.
Did you guys have ideas to do a live-action video or was it always going to be animation?
Elliott: I don’t know about everybody else, but personally, I’ve always wanted to be animated. We really wanted to explore a few different ways of doing videos and we’re big Fox fans. We thought animation for this could go a number of different and exciting ways, so it just made sense to us.
The song is about standing up to abuse and the culture that surrounds it. How important was the message to the concept of the video and how did you want it portrayed?
Elliott: The song and the concept of the video really go hand in hand. A long time ago, I decided that I couldn’t continue being part of a system that (without good reason) views living beings as means to our own ends. You often get some ridiculous and irrational responses when you tell people you care about the rights of animals – these are often rooted in all sorts of notions that don’t make a lot of sense to me.
The video was done by Fox at X-Ray Studios- have you guys worked with him before? How did you guys end up with Fox?
Elliott: Fox has done a bunch of artwork for us and we’re big fans of his art. The idea of doing this video with him was a really exciting prospect.
What was the process of creating the video like- were you guys there for the storyboarding and how it would play out or was the idea presented to you as a completed concept?
Elliott: We had an idea of us as vigilante vegetable eaters being harassed by the “protein police”. What followed from that definitely related to the nonsensical ways people often respond to others not eating animals. Fox really helped this come to life and turned it in to something bigger.
Was “Brovine” the natural choice for the first single/video?
Elliott: It was the third choice! The first single/video we released from the album was “Verge Collection” and then we did “The More You Know”, which, although a 30-second song that may seem like a teaser, is actually a true representation of the sorts of musicians we are – easily distracted.