[01 상반기] 48. Tom Waits with Gavin Bryars - Jesus’ Blood Never Failed Me Yet

[2001 상반기] 48. Tom Waits with Gavin Bryars - Jesus’ Blood Never Failed Me Yet

Gavin Bryars with Tom Waits ‎- Jesus' Blood Never Failed Me Yet ('93)

1. Tramp With Orchestra I (String Quartet) [27:05]

2. Tramp With Orchestra II (Low Strings) [15:16]

3. Tramp With Orchestra III (No Strings) [4:48]

4. Tramp With Orchestra IV (Full Strings) [6:06]

5. Tramp And Tom Waits With Full Orchestra [19:38]

6. Coda: Tom Waits With High Strings [1:47]

Gavin Bryars - Composer

Michael Riesman - Conductor, Producer 

Tom Waits - Vocals

Hampton String Quartet:

Regis Iandiorio - 1st Violin

Richard Henrickson - 2nd Violin  

Richard Maximoff - Viola 

John Reed - Cello

Dale Stuckenbruck, David Nadien, Donna Tecco, Elena Barere, Eriko Sato-Oei, Jan Mullen, Jean Ingraham, Laura Seaton, Matthew Raimondi, Max Ellen, Mayuki Fukuhara, Nancy McAlhany, Richard Sortomme, Sanford Allen - Violin

Alfred Brown, Juliet Haffner, Olivia Koppel, Paul Peabody - Viola

Beverly Lauridsen, Clay Ruede, Jeanne LeBlanc, Jesse Levy, Mark Shuman, Semyon Fridman - Cello

Kim Laskowski - Bassoon 

Jeffrey Marchand - Contrabassoon

Allen Blustine, Steven Hartman - Clarinet

Michael Parloff - Flute

Ann Yarborough, Ron Sell, Sharon Moe, Tony Miranda - French Horn

James Pugh, Keith O'Quinn - Trombone

Neil Balm, Wilmer Wise - Trumpet

Alan Ralph - Tuba

Barbara Wilson, Homer Mensch, John Beal - Double Bass

Brian Koonin - Guitar  

Karen Lindquist, Nina Kellman - Harp

Dorothy Darlington - Oboe

Michael Riesman - Organ

Frank Cassara - Percussion

Elsa Higby, Katie Geissinger, Margo Grib - Alto Vocals

Gregory Purnhagen, Jeffrey Kensmoe, Peter Stewart - Baritone Vocals

Kristin Norderval, Lisa Bielawa, Marion Beckenstein, Michele Eaton - Soprano Vocals

Eric Lamp, Jeffrey Johnson, John Koch - Tenor Vocals

"Jesus' blood never failed me yet

Never failed me yet

Jesus' blood never failed me yet

There's one thing I know

For he love me so..."

Bryars says: In 1971, when I lived in London, I was working with a friend, Alan Power, on a film about people living rough in the area around Elephant and Castle and Waterloo Station. In the course of being filmed, some people broke into drunken song – sometimes bits of opera, sometimes sentimental ballads – and one, who in fact did not drink, sang a religious song "Jesus' Blood Never Failed Me Yet". This was not ultimately used in the film and I was given all the unused sections of tape, including this one. When I played it at home, I found that his singing was in tune with my piano, and I improvised a simple accompaniment. I noticed, too, that the first section of the song – 13 bars in length – formed an effective loop which repeated in a slightly unpredictable way [in the notes for the 1993 recording on Point, Bryars wrote that while the singer's pitch was quite accurate, his sense of tempo was irregular]. I took the tape loop to Leicester, where I was working in the Fine Art Department, and copied the loop onto a continuous reel of tape, thinking about perhaps adding an orchestrated accompaniment to this. The door of the recording room opened on to one of the large painting studios and I left the tape copying, with the door open, while I went to have a cup of coffee. When I came back I found the normally lively room unnaturally subdued. People were moving about much more slowly than usual and a few were sitting alone, quietly weeping. I was puzzled until I realised that the tape was still playing and that they had been overcome by the old man's singing. This convinced me of the emotional power of the music and of the possibilities offered by adding a simple, though gradually evolving, orchestral accompaniment that respected the homeless man's nobility and simple faith. Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism.