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Brian Reitzell (born December 24, 1965) is an American musician, composer, record producer and music supervisor best known for his work on many film and TV soundtracks.
Brian Reitzell was born in 1966. He is known for Lost in Translation (2003), Marie Antoinette (2006) and Red Riding Hood (2011).
- January 1, 1
- 1 min
- Composer, Music Department, Actor
Dec 4, 2015 · Musician and composer Brian Reitzell speaks about the trials and tribulations of licensing music for film, his ongoing work scoring Hannibal, and his collabo...
- 95 min
- 7K
- Red Bull Music Academy
- Thelonious Monk: ‘Misterioso’
- Mccoy Tyner: ‘Message from The Nile’
- Herbie Hancock: ‘Dolphin Dance’
- Tony Williams: ‘Memory’
- Modern Jazz Quartet: ‘Odds Against Tomorrow’
- Bobby Hutcherson: ‘Procession’
- Andrew Hill: ‘New Monastery’
- Elvin Jones: ‘Mr Jones’
- Dexter Gordon: ‘A Night in Tunisia’
- Art Blakey and The Jazz Messengers: ‘Free For All’
“I had to open with something from Monk, since that’s where it all started. Think of this as a prelude or the opening titles to a film. It’s short, like a pop song. I love how it’s so normal and so weird at the same time. Monk was such an original composer and pianist – such a sincere, unique character. He plays like a percussionist doing these imp...
“Now the film begins! This is exotic traveling music. The cover of the record looks like a National Geographic magazine from 1973. I discovered the album when I was a teenager and thought it was related to National Geographic. This is the opening track on it and, in my opinion, one of the best opening tracks ever. The way it enters with the bass os...
“My older brother Todd put this on a few months ago and claimed it was his favorite jazz record. It’s insane to think how young Herbie Hancock(24) and Tony Williams (19) were when they made this. It’s such elegant music. Ron Carter stays in the center on bass. When I was playing with Air, we got immersed in all the later Herbie records, which I lov...
“I grew up in the San Francisco Bay Area and was fortunate enough to take a drum lesson from Tony Williams when I was a teenager. I collected everything that Tony played on. To me, he’s the greatest drummer that has ever lived, and these tracks argue that point – Tony is on more of them than any other musician. “He was born with an absolute gift. T...
“This is a rare bird. This track is a cover of a film cue composed by John Lewis of Modern Jazz Quartet. The score for the film, starring Harry Belafonte, was performed by Lewis and the Quartet, with the addition of strings, etc… a ‘proper’ film score. This track was recorded a few months later, rearranged as a Modern Jazz Quartet album, and releas...
“This record really does sound like early 70s San Francisco. I didn’t discover it until my early 20s, when I moved down to LA. It’s cool to listen to while driving around the city. There’s something almost post-rock about this, which I always liked.”
“My mother gave me a copy of The Penguin Guide To Jazz when I was a young man, and that book wasmy guide. It was a great resource – and still is. My copy is all marked up and wilted like a faded old phone book. “This is one of the records I bought because of it. It has a ‘crown’, which is as high a rating as you can get. It also has another killer ...
“The first jazz musician that ever registered as such to my young brain was Elvin Jones. His face was so distinct that when I saw the cover of the record Merry-Go-Round, it just burned into my psyche. This track is so groovy. I love the percussion. Elvin and the whole band are on fire.”
“A classic performance. Should be called ‘A Night In Paris’. I learned about this particular version from the Penguin guide.”
“Art Blakey got me into collecting jazz records. In the early 90s, my band at the time – Redd Kross – would tour in Japan, where you could find all these amazing reissues and original LPs. I spent all my free time and money hunting through Tokyo and Osaka record shops mostly trying to complete my Blakey collection. This track is just plain fierce. ...
Feb 10, 2022 · For film composer Brian Reitzell, the invitation to score NBC’s experimental horror-drama Hannibal was the opportunity he’d been waiting for. “I’m all about timbre,” Reitzell said in a 2013 interview with Your Classical .
Sep 11, 2014 · Reitzell got on the phone with Vulture to discuss creating a “constant heightened state of reality,” preparing a Hannibal concert, and how bad commercials suck. [ This conversation is spoiler ...
Jul 24, 2014 · It’s a hallucinatory 110 degrees in a parking lot in the Los Angeles neighborhood of Glendale, where Brian Reitzell stands outside of a nondescript recording studio located amid a strip of office...
