Marc Ribot plays Charlie Chaplin's "The Kid"
Event Type: music/performance
This show will begin with a solo set, followed by a screening with live score.
Marc Ribot (pronounced REE-bow) is one of the great eclectic, electric guitarists. Born in Newark, New Jersey in 1954, as a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/ punk Realtones, and from 1984-1989, of John Lurie’s Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.
Marc has released over 20 albums under his own name over a 35-year career, exploring everything from the pioneering jazz of Albert Ayler with his group Spiritual Unity (Pi Recordings), to the Cuban son of Arsenio Rodríguez producing two critically acclaimed releases with Atlantic Records under Marc Ribot Y Los Cubanos Postizos. His avant power trio/post-rock band, Marc Ribot’s Ceramic Dog (Pi Recordings), continues the lineage of his earlier experimental no-wave/punk/noise albums Rootless Cosmopolitans (Island Antilles) and Shrek (Tzadik). Marc’s solo recordings include Marc Ribot Plays The Complete Works of Frantz Casseus (Les Disques Du Crepuscule), John Zorn’s The Book of Heads (Tzadik), Don’t Blame Me (DIW), Saints (Atlantic), Exercises in Futility (Tzadik), and his latest Silent Movies released in 2010 on Pi Recordings was described as a “down-in-the-mouth near-masterpiece” by the Village Voice.
Commissioned and premiered in Jan 2010 by the NY Guitar Festival at Merkin Hall, Marc Ribot’s delicate and at times haunting solo guitar score to Chaplin’s classic The Kid contemporizes this film, which remains a relevant story about our current economic and social conditions.
"I did not use Charlie Chaplin’s score as a reference. I admire his score greatly, and his writing greatly, but I did not want to use that as a reference because my interest in this, as with everything else, comes from doing a particular reading. And my particular reading of this film is as a contemporary film. This is kind of striking to me. When I first saw the film as a kid — like 45 years ago — it seemed really old. It seemed ancient. It was kind of walled off in this ghetto of the past. So much so that the content of the film seemed funny even when the characters weren’t being intentionally funny. It seemed inherently funny for something to be that old. Whereas, when I watch it now, I don’t see old. I see a contemporary story about a single father in economically really hard conditions."
– Marc Ribot in an interview for Flavorpill 5/21/10
8pm | ADV $20, $17 mbrs, DOORS $23, $20 mbrs.
Stick around for Saturday's Master Improvisation Class (for all instruments) led by Marc Ribot!: http://www.creativealliance.org/events/2015/guitar-improvisation-master-...
You Might Also Like:
America The Game Show F*ck Yeah!
Sat Jul 1, 8pm
Hearsay, hanky-panky, and history make up this glitzy, outlandish...
Summer of Love 50th Anniversary Show w/ Fractal Cat & Friends
Fri Jul 7, 8pm
Summer 1967. The counterculture made its way west to the dock of the...
Michael Mwenso & The Shakes
Thu Jul 13, 7pm
Hailed by the NY Times as “intense, prowling, and ebullient,” the...
Fri Aug 4, 8pm
Baltimore’s own Kevin Jackson recorded and performed with artists...
Baltimore Plays: Schoolhouse Rock!
Sun Aug 6, 4pm
A generation of American kids grew up singing the catchy tunes from "...