Jeff Rona, Lisa Gerrard - A Thousand Roads [Original Soundtrack]
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CD Details
Artist: Jeff Rona, Lisa GerrardEdition: Music CD
Audio: English (Original Language); Spanish (Original Language)
Format: Soundtrack
CD Release Date: 2005-08-23
Music Label: Reincarnate Music
Soundtracks:
- Good Morning Indian Country
- Rowing Warriors
- Canyons Of Manhattan
- Coming To Barrow
- All Your Relatives
- Dawn Across The Snow
- The Northern Lights
- Johnny In The Dark
- Walk In Beauty's Way
- A Healer's Life
- Who Are We To Say
- A Thousand Roads
- End Titles
- Who Are We To Say (Vocal)
- Shaman's Call
- Nemi
- Mahk Jchi
- All My Relations
- Song Of The Trees/Warm Springs Honouring
- Crazy Horse
Music reviews of A Thousand Roads [Original Soundtrack]
Music Review: A Thousand Roads NOT TAKEN
Rating: 1 Stars
While other films might be part Indian or have Indian themes mixed into them, this "signature" film embodies the ideals of the National Museum of the American Indian. In no uncertain terms, this particular film was mandated to be the actual voice of American Indians in all respects:
"[The] mission-driven core value of the National Museum of the American Indian...is this: ...we will invoke, in a conscious, systematic, and focused way, the insights, perspectives, and voices of Native peoples themselves. In doing so, we depart...from the historically conventional approach of interpreting and representing Native cultures and communities from third-party viewpoints. We do so because we believe the cultural expertise of Native peoples is authentic, authoritative, and real concerning their cosmologies, philosophies, life and cultural experience, past and present..." [W. Richard West, Jr., 2004. National Press Club]
The composer selected for the film was Lisa Gerrard (non-Indian), though no information has surfaced about the exact selection criteria. However, it is factually clear there was no "open bid" process for a composer, as some governmental institutions do if they are publicly funded.
When Scott Garen ran by his choice of Gerrard for the project he told Joy Harjo, "Can't you hear her voice all through the movie?" Harjo responded that Indian singers would be more authentic for an Indian film. "I mean, Gerard has a beautiful and haunting voice and I can understand the quality of sound that Garen was after. But I was surprised that a non-Native voice would become the heart of a signature sound on a supposedly Indian film. What if we were making an African American film, would a non-African American voice even be considered? Not at all. It doesn't make sense, especially after the carefulness of insuring an Indian presence in the scriptwriting and directing."
Ulali was told by Jeff Rona their music "was too bluesy" for the soundtrack; Jennifer Kreisberg quickly corrected Rona, stating that bluesy quality was a uniquely indigenous feature of Ulali's music which predates modern blues. "That really is our scale," Kreisberg affirmed. But their expertise was ignored. Rona altered the light and definitive sound of Ulali, without Ulali permission, into a heavier echo-laden sound smothered in reverb. To boot, Ulali was not given "retakes" nor the opportunity to properly warmup.
In Summary, the expertise of THE ONLY Indians involved in the film music score, Joy Harjo (scripted music) and Ulali (performed music), was ignored by the non-Indian producers. The decisions regarding the film score were made exclusively by the non-Indians on the project. It is unfortunate that a greater transparency could not have been established for contracting both the producers and the composers, especially considering that both, admittedly, had little knowledge of American Indian music at all. This film score is a prime example of despotism over Indian culture, and should be avoided by any serious collector of American Indian music. The music for this film is the worst kind of kitsch. -- Brent Michael Davids (Composer, Mohican Nation) (The Full Review is available at [...])
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