The American Epic Sessions
The American Epic Sessions is a documentary film in which an engineer restores the fabled long-lost first electrical sound recording system from 1925, and twenty contemporary artists pay tribute to the momentous machine by attempting to record songs on it for the first time in 80 years.[1][2][3] The film was directed and co-written by Bernard MacMahon and stars Nas, Alabama Shakes, Elton John, Willie Nelson, Merle Haggard, Jack White, Taj Mahal, Ana Gabriel, Pokey LaFarge, Beck, Ashley Monroe, Los Lobos, The Avett Brothers, Bettye LaVette, Rhiannon Giddens, Raphael Saadiq, Edie Brickell, Steve Martin, and others.[1]
The American Epic Sessions
- Bernard MacMahon
- Duke Erikson
- Allison McGourty
- Allison McGourty
- Duke Erikson
- Bernard MacMahon
Vern Moen
- Bernard MacMahon
- Duke Erikson
- June 6, 2017
116 minutes (theatrical version)
United States
English
The film employed a diverse line-up of performers both ethnically and musically to represent the breadth of cultures that were first given a national platform through the invention of this recording machine.[3][4][5] It also explored the extent to which the recordings made on it in the 1920s influenced and inspired contemporary music.[3][5][6]
Development[edit]
The film involved a decade of work restoring the machine, which was pieced together from spare parts scattered across the globe,[7] in order to better understand the origins of modern recording technology,[8][5] and the influence the machine had on world culture.[9][10] The machine would go on to put sound on motion pictures.[4][8][5][11] The recreation of a live 1920s-style recording session, explored the essence of what makes a great recorded performance.[12][13]
The film resulted in unexpected insights into how sound recording was developed and perfected and its impact on how musicians communicate on recordings today.[12][5] MacMahon filmed the live performances like a Hollywood musical in single unedited takes to focus on the music, the sound the machine produced, and the impact it had on the artists performances.[14][15] The technical aspects of the recording were covered in sequences interspersed throughout the film where, with rigorously filmed tracking shots and extreme close-ups using a macro lens, the viewer could observe and understand the inner workings of the machine.[16][6]
The film received widespread acclaim for its direction, musical performances, sound and cinematography.[3][7][17][18][19][6] The film won the Discovery Award and the Audience Award at the Calgary International Film Festival,[20] was nominated for a Primetime Emmy Award,[21] Bernard MacMahon and Allison McGourty were nominated as Breakthrough Talents by the British Academy Film Awards[22] and won a Grammy Award for the Alabama Shakes performance of “Killer Diller Blues”.[23]
Film synopsis[edit]
The film's title sequence begins with a series of cards announcing that “In 1925 the invention of electrical sound recording revolutionized the phonograph industry. In 1926 this equipment was taken across America to record rural music for the very first time – blues, gospel, Cajun, country, Hawaiian, Native American and more…Only a few of these machines were made, and none are known to have survived. All the musical performances in this film are live. The audio you hear is taken directly from the discs it was recorded to, with no editing or enhancements.” Thereafter a series of contemporary musicians enter an exact replica of a 1920s recording studio[2] and record songs live onto a single microphone attached to the first electrical recording system and a pulley-driven disc cutting lathe.[7]
Their performances are filmed in single takes. Some of the performers are seen arranging their songs and Elton John is seen actually writing his song live on camera.[24] These scenes are interspersed with interviews with engineer Nicholas Bergh explaining how the machine works, its cultural and technological importance, how the 1920s field recording sessions were organized and the observations of the contemporary performers participating.[5][16][6] Some of the artists’ performances are prefaced by ethereal scenes where the camera explores the dark corridors of the empty studio, accompanied by the recordings that were made on the machine 90 years ago distantly playing in the background, while the camera zooms in on framed portraits of those long-deceased musicians hanging on the walls of the studio. These ghostly scenes are followed by a contemporary artist covering the same song.[25]
Numerous potentially fatal disasters befall the machine during the sessions including the pulley cable that holds the weight breaking, which Jack White repairs at an upholstery shop, the amplifier overheating and blowing up during an Avett Brothers recording and a fraught 13 take session where Beck's 12-piece choir battle with an overdriven and distorting microphone.[24] To capture the eclecticism of a 1920s recording session, a very diverse selection of artists is seen participating in the film, from Hispanic performers like Ana Gabriel and Los Lobos to Hawaiian steel guitar bands like The Hawaiians and Cajun acts like The Lost Bayou Ramblers, pop singers like Elton John, rock and roll groups like Alabama Shakes and Jack White and hip hop artists like Nas.[8] The film culminates with the last filmed performance of Merle Haggard and Willie Nelson, recording a song Haggard has written for the film, “The Only Man Wilder Than Me”[24] followed by a cover of Bob Wills’ “Old Fashioned Love” closing the film with the lines; “Although the land may change to sea, There'll be no change in me, I've got that old fashioned love in my heart.”[24]
Origins[edit]
MacMahon stated that the idea for the film was born out of a desire to understand on a practical level how the pivotal 1920s recordings were made, “you can only truly appreciate history, and understand why things were done the way they were done, by actually going out and doing them yourself.”[26] Two initial sessions were filmed at the producers' expense prior to the commissioning of the films by the BBC and PBS.[1][27] These were with Frank Fairfield and The Americans.[13][28] This was done, according to MacMahon, “as a proof of concept and to ensure the look and style of the film was indelibly stamped from the outset with our own artistic sensibilities and thereby limit the level of outside interference.” He also added “The American Epic Sessions film was the carrot to get the three historical films made. This meant we shot Sessions way ahead of the production of the rest of the films to engender an incentive to tackle the vast undertaking that was the historical films. Making Sessions was like the Olympic 100 metres. The historic films were the marathon.”[29] MacMahon has commented that he prefers to shoot the endings of films first so he can determine the pace to the climax more effectively.[29]
Film production[edit]
Location[edit]
The film was shot in one main location: Vox Recording Studios in Hollywood, California.[30] Originally built in 1936 and named Electro-Vox, the studio is “said to be the oldest private recording studio in the world”.[31] The studio was emptied of all current sound recording equipment and furniture, then dressed in period fixtures and fittings before bringing in the Western Electric Recording System.[13]
The set designer attempted to make the studio feel as close to how a studio would have felt in the 1920s in an attempt to give the musicians the feeling of being taken back in time to an actual recording session as described in the American Epic documentary series.[32] The film had one secondary location, Sophie's Seat Design in Hollywood, California, which was featured when former upholsterer, Jack White, took the broken belt of the recording lathe to be re-sewn.[7]
Artist selection[edit]
The artists were principally chosen by MacMahon in consultation with the film's producers and co-writers Duke Erikson and Allison McGourty, and executive producers T Bone Burnett and Jack White.[29] The performers were chosen for their musical and ethnic diversity and their ability to record in a rigorous and demanding manner.[8] MacMahon insisted on having three previously unrecorded acts at the sessions; The Americans, Christine Pizutti and Jerron “Blind Boy” Paxton.[29]
Song selection[edit]
The musicians were encouraged to record both a vintage song and a song they had written.[16] MacMahon and Erikson compiled a list of old songs that they wanted to feature in the film and in some cases specifically chose songs for particular performers; “Mal Hombre” for Ana Gabriel,[8] “On the Road Again” for Nas, “Tomi Tomi” for the Hawaiians and “Nobody's Dirty Business” for Bettye LaVette.[33] Other performers researched the period and selected their own vintage songs; Jack White unearthed “Matrimonial Intentions”, the Avett Brothers chose “Jordan Am a Hard Road” and Rhiannon Giddens chose “One Hour Mama”.
Most of the performers recorded two songs although the duration of the film precluded all these performances appearing in the finished film.[33] Some performers wrote songs specifically for the film like Merle Haggard who composed “The Only Man Wilder Than Me” as a duet for him and Willie Nelson to perform.[5] Elton John arrived at the studio with a lyric entitled “Two Fingers of Whiskey” that Bernie Taupin had written specifically for the film. Elton John then proceeded to write the melody live on camera and arrange the song with Jack White and recorded the song live direct to disc without leaving the room during the whole process.[34][35] All the performances in the film and many additional songs not featured in the film were released by Columbia Records/Lo-Max on Music from The American Epic Sessions: Original Motion Picture Soundtrack.[36]
Score[edit]
A non-diegetic score was occasionally used in the film. There were four main instances, a section revealing how the Western Electric Amplifier Rack and Microphone work, a section discussing the social impact the Western Electric Recording System had on the world and its eventual demise, the arrival of the final two musicians in the film, Willie Nelson and Merle Haggard, and finally, the closing credits. The score was written by Duke Erikson and Bernard MacMahon and performed by Duke Erikson and Chris Wagoner.[37]
Cinematography[edit]
The film was storyboarded extensively by MacMahon in advance of the shoot along with detailed diagrams of the lighting designs. He explained; “I’d have an idea in advance of what the set-up might be musically so I painted out lighting design and storyboards in advance. Those were in a constant state of flux,”[13] Producer Allison McGourty commented “It was like a theatrical production—Bernard designed different lighting for each session to give [each song] a different feel.”[14] MacMahon said that he wanted the film to look like a painting “I wanted a rich color palette so it looks like a Velázquez painting,” he said, with the lighting falling off to heavy shadows in the corners of the picture to conceal the dolly tracks in the studio.[11][13]
Reception[edit]
Release[edit]
The film was previewed as a work in progress at film festivals around the world throughout 2016, including a Special Event at Sundance hosted by Robert Redford,[52] SXSW,[53] International Documentary Film Festival Amsterdam,[54] Denver International Film Festival,[55] Sydney Film Festival,[56] and the London Film Festival.[57] The film was completed in February 2017 and aired on PBS in the US and BBC in the UK in May and June 2017. An NTSC DVD and Blu-ray of the series was released in the US in June 2017.[1]
Critical reception[edit]
The film was released to widespread critical acclaim, with many publications praising the direction, performances, the quality of the sound, the cinematography and lighting.[3][16][18][11][38][58]
Joe Boyd wrote in The Guardian “for two hours we revel in filmed performances in front of that single microphone, as the camera lovingly follows the sound through anaconda-like cables to the cutting head. As soon as the blank disc starts spinning, our soundtrack switches from the film-maker’s 21st-century handheld digital stereo to the glorious mono of the single microphone. There are no faders; if Burnett or White want more of this musician and a bit less of that one, they move them closer to or away from the microphone. It’s brilliant theatre, beautifully filmed and makes for glorious television. Miss it at your peril.”[3] Stephen Dalton in The Hollywood Reporter wrote that the film was “a mammoth project with worthy intentions and a big heart - a feast of musical and educational riches.”[19] Steve Appleford in Rolling Stone observed that “in the final performance of Sessions, Willie Nelson and Merle Haggard perform the duet "The Only Man Wilder Than Me." Haggard has a look of complete joy on his face throughout the session in the old-timey recording set-up once used by his musical heroes.”[7] Mike Bradley in The Observer said The American Epic Sessions was “one of the most interesting music programmes ever broadcast. Wonderful.”[18] Michael Watts in The Economist wrote the film was “unmissable and uncovers the origins of popular music.”[58] Iain Shedden in The Australian noted “one of the highlights (and audience prizewinner) of last year’s Sydney Film Festival was the American Epic series of documentaries by British filmmaker Bernard MacMahon and producers Allison McGourty and Duke Erikson. The American Epic Sessions, brought together a wealth of contemporary talent. It’s an exquisite representation of the primitive power of American roots music and its enduring charm - music that stirs the soul.”[59] Greil Marcus in The Village Voice praised the film for “performances so good you can hardly listen without thinking of how close each recording is to not existing at all.”[60] Liz Jobey in the Financial Times hailed the film as “an extraordinary journey back through American song recording”[61] and Ludovic Hunter-Tilney in the same paper remarked that “New York Rapper Nas does a superb cover of the Memphis Jug Band’s “On the Road Again”, exposing the hip-hop blueprint within the 1928 stomper.”[62]
Danny Eccleston in Mojo pointed out that “in one of the series’ most extraordinary moments, Elton John arrives toting a box-fresh lyric by Bernie Taupin and works it up in an instant, the song materializing in front of the viewers eyes before John and Jack White go for the take. There's the magic right there.”[35] L. Kent Wolgamott in the Lincoln Journal Star praised it as “a fascinating picture. Among its highlights: A killer performance in Spanish by Ana Gabriel on a song originally done by Lydia Mendoza; Taj Mahal’s powerhouse take on Charley Patton’s “High Water Everywhere”; and Bettye LaVette's heartfelt recollections of being pushed away from early blues as “Uncle Tomish” in the ‘60s before she nails “When I Woke Up This Morning.”[63] Stephen Thompson at NPR wrote that “watching Alabama Shakes' members tear into this brief but potent cover of "Killer Diller", you get insights into the magic of the equipment and studio, the timelessness of the song, and Alabama Shakes' own genre-and era-busting charisma.”[64] James Moore in Gigwise observed “This need for greatness within that three-minute take is captured perfectly in the film, moments of silence before a blue light indicates “go” seeping with nail-biting tension and atmosphere. In every case, the results are astounding and the artists always deliver. When you watch, this cinematic choice feels absolutely perfect, the lack of cuts capturing the immediacy of the song and reflecting the fact that the musicians have no choice to cut and start again either. Oh, and the sound...Wonderfully visceral, raw and untampered with, every original recording is layered with character and charisma, the beautifully complex machine always manages to draw the very best from its chosen subject. Handled with wonderful care, romanticism and respect for the technology and the incredible talent it facilitated, the film is a viewing experience like no other and should be sought out by music fans of all tastes and ages.”[38]
Brian McCollum in the Detroit Free Press wrote that the film “brings a lost musical era back to life”[10] and praised “a documentary which pairs a scholarly eye for detail with a buoyant fan passion.”[10] Chris Willman in Variety praised the film for being “all about romance” and posited that “the ultimate star of this show is a meticulously reconstructed recording machine from the 1920s that seems to have talismanic qualities on those who enter its orbit even 80 years after it was last in use. This antiquated, cleaned up piece of studio equipment is so fetishistically photographed, it relegates the 19 musical acts that drop by for an old-school session to supporting players. Fortunately, it’s a stunt that pays off, in pristine contemporary recordings you can scarcely believe went directly through a cutting stylus direct to disc. Bernard MacMahon, who championed this project for the better part of this century, makes the best case for this beautiful monstrosity of a machine representing the pre-homogeneity democratization of American music.”[16] Robert Lloyd in the Los Angeles Times confided "I don’t mind telling you I got a little emotional watching this, and you might too."[65] Kurt Gardner in Blogcritics called the film “An amazing journey through musical history. Lovers of music and early Americana alike will be fascinated by Bernard MacMahon and Allison McGourty’s The American Epic Sessions. The enormous device, made of pulleys, flywheels, weights, and wood, was set up in a Los Angeles recording studio whose nondescript exterior gave no hint of the magic taking place inside. There, the film is lit in nostalgic, burnished hues, and loving close-ups of the marvelous contraption in operation are interspersed with performances by such talents as The Avett Brothers, Los Lobos, Alabama Shakes, Taj Mahal, Willie Nelson, Merle Haggard, and Elton John. Historically fascinating and musically entertaining, The American Epic Sessions was the perfect film to watch during SXSW at Austin’s historic Paramount Theatre, surrounded as we were by the ghosts of entertainers who’d graced the stage over its 100-year history.”[6] James Jackson in The Times wrote “none of these machines survive, but for this high-class film the engineering has been lovingly reassembled for today’s stars to try. It’s all very muso, but completely enriching too – watching Elton John compose a song with Jack White is a thrill.”[66] Euan Ferguson, in The Observer summarized “I have to say all acquitted themselves phenomenally. Everyone who has ever been even the tiniest bit interested in music should watch this.”[67]
The film has received a number of awards, including the Foxtel Audience Award at the 2016 Sydney Film Festival,.[68][21] At the 2016 Calgary International Film Festival, it won the Audience Award and garnered director Bernard MacMahon the Discovery Award.[20] The film was also nominated for a Primetime Emmy 2017 for Outstanding Musical Direction, Bernard MacMahon and Allison McGourty were nominated by the British Academy Film Awards in 2018 as Breakthrough Talents for The American Epic Sessions[22] and the film won a Grammy Award for Alabama Shakes performance of “Killer Diller Blues".[23]