James Harrar’s CINEMA SOLORIENS ft. Marshall Allen of the Sun Ra Arkestra
Background on James Harrar:
James Harrar has been crafting densely lyrical film-poems since the late 1980’s exhibiting at prestigious venues all over the world such as the Museum of Modern Art-New York, Anthology Film Archives, The Andy Warhol Museum and Yamaguchi Center for Art & Media to name a few.
His films are personal in a very direct and explicit sense. In an intimate form, Harrar attempts to imprint thoughts, dreams and conceptual ideas onto the open-minded viewer while examining the possibilities of perception.
As a musician, Harrar has worked in his avant-garde music/media project, CINEMA SOLORIENS, where for over 20 years has had Marshall Allen of the Sun Ra Arkestra in close collaboration on tour and in the studio.
He plays tenor sax, EVI, ethnic reeds, husuli, electric bulbul tarang, electronics, voice and effects.
Cinema Soloriens is a multi-media performance consisting of James Harrar’s experimental and highly personal film and video images with a live musical rendering of soundtracks for each film. The musical concepts are created, directed and performed by Harrar, featuring Marshall Allen of the Sun Ra Arkestra and local musicians.
The project places attention on Artist collaboration, exploring the moving image with live performance and when combined, attempts to reveal deeper levels of interpretation within Harrar’s visceral film poems. This presentation also celebrates the early beginnings of cinema, providing live music to support and elevate the silent movie experience.
Background on Marshall Allen:
Marshall Belford Allen (born May 25, 1924) is an American free jazz and avant-garde jazz alto saxophone player. He also performs on flute, oboe, piccolo, and EVI (an electronic valve instrument invented by Nyle Steiner, made by Crumar).
Allen is best known for his work with eccentric keyboardist/bandleader Sun Ra, having recorded and performed mostly in this context since the late 1950s, and having led Sun Ra’s Arkestra since 1993.
Critic Jason Ankeny describes Marshall as “one of the most distinctive and original saxophonists of the postwar era.”