Wes Anderson’s needle-drop genius gets its due at his Hollywood Bowl tribute

The actor and musician Jason Schwartzman pulled a cassette tape from his pocket on stage at the L.A. Phil’s tribute to Wes Anderson. Schwartzman was just a teenager when he was cast as the obliviously ambitious Max Fischer in Anderson’s 1998 film “Rushmore,” and on Friday, he recalled the night Anderson played him the film’s entire soundtrack in his car.

“He said, ‘This is the soundtrack to the movie. This is the order it’s going to be in,’ and he walked me through the entire film narrating it,” Schwartzman said, still agog at the completeness of Anderson’s vision before a frame was shot.

More recently, Schwartzman said, “I was at my mom’s house tying my shoe, and I see a cassette tape on the ground titled “Rushmore songs.” He then chucked the tape into the audience, a piece of film history that hopefully someone caught unscathed.

Anderson’s use of far-flung needle drops and lovely original score work is, like everything in his film universe, planned down to exacting detail. But this opener of a three-night stand — sporting an all-star roster of guest vocalists, an exceptional backing band, and a light touch from the Phil — was more in the spirit of how fans revisit Anderson’s films: as old friends that pop back into your life, affection only deepened with time, right when you need them.

Guided by the genial riffing of the night’s MC, Bill Murray (an Anderson regular from “Rushmore” onward), the program made its case that Anderson’s savvy with soundtrack curation and delicate, evocative scores are the heart of his films, right along with his meticulous visual style and arch, melancholy tone.

The director, recently freed from a malfunctioning elevator in a pithily Andersonian incident, made a brief appearance onstage with Murray. But the focus was the music itself on Friday, and the ragtag roster of artists that fully conjured it.

To start, huge credit is due to the show’s musical director Justin Meldal-Johnsen and the session-killer band of Roger Joseph Manning Jr., Jason Falkner, Joey Waronker and Gus Seyffert. The sheer amount of music to arrange and assemble for this was vast and demanding, and they got to all of it from 1996’s “Bottle Rocket” to the present.

The Phil took a more modest role, performing poignant, rigorous slivers of scores from Anderson’s go-to composers Alexandre Desplat (“Canto at Gabelmeister’s Peak” from “The Grand Budapest Hotel” and “Mr. Fox in The Fields,” from “The Fantastic Mr. Fox”) or his frequent collaborator, Devo’s Mark Mothersbaugh (the propulsive “Ping Island” from “The Life Aquatic with Steve Zissou.”)

Pianist Jean-Yves Thibaudet took a lively solo crack at “Moses Rosenthaler” off “The French Dispatch;” Rajib Karmakar and Aakash Pujara played aching sitar and flute drones from “The Darjeeling Limited,” and taiko drummer Kaoru Watanabe nearly blew out the Bowl’s speakers on “Shinto Shrine” from “Isle of Dogs.”

The surprises came from the rock acts brought in to reimagine the most evocative needle drops from Anderson’s ouvre.

Jackson Browne, in an unbelievable career first, finally got around to performing “Fairest of the Seasons” and “These Days,” tracks he wrote as a teenager, eventually covered by German art-rock chanteuse Nico, mournfully used on “The Royal Tenenbaums.”

Beck took a pass at the late Elliott Smith’s ghostly “Needle in The Hay,” used to harrowing effect in the same film, and later Love’s “Alone Again, Or.” Karen Elson beautifully covered Françoise Hardy’s “Les Temps De L’amour” from “Moonrise Kingdom” while the Yeah Yeah Yeahs’ Karen O simmered through the Rolling Stones’ “Play With Fire” off “Darjeeling.”

Actor and host Billy Murray speaks at L.A. Phil’s Music of Wes Anderson show Friday at the Hollywood Bowl in Los Angeles.

(Ariana Drehsler / For The Times)

Yet the delighted gang’s-all-here element that ties Anderson’s regular cast together was embodied by an endearingly shaggy run through “Zorro Is Back” with Jenny Lewis and Rogê. Toward the end of the night, just before a closer with the Faces’ “Ooh La La,” Murray brought out a one-of-a-kind instrument for a big flourish. A $9 desk bell, seemingly purchased at Staples hours before showtime, requested specifically by Anderson.

“Front of house, make sure Bill’s bell is ripping,” Beck implored the sound techs at the Bowl. Indeed, as the band, including Jim James of My Morning Jacket, Lewis and Schwartzman, performed the Bobby Fuller Four’s single “Let Her Dance,” Murray indeed whacked the hell out of that thing.