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| Film Score Blog (August 2009): Jerry Fielding Works and The Super Cops!
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| Posted By:
Thomas Rucki
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8/29/2009 - 3:00 AM |
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I consider The Super Cops as one of Fielding’s very best ever. Let me explain myself. Light at first glance, the score is actually very ambitious, strong, versalite, composite in the end but still very well-oiled and homogenous. As usual, you will find the martial beat but arranged with an exotic and colorful way. The ethnic and upbeat orientation is a departure from Fielding’s abstract leitmotiv and tormented scores. The music itself is rich in texture, filled with South American instruments (as the Brazilian friction drum Cuica, the wrought iron bell Agogo and the dried gourd Xequerê) and influences (from the big band, the fanfare, the soul music, the rock music to the samba of Rio’s Carnival and Slavic modernistic classical music) and fits the concept of “primitive modern” (1) and, in the context of the film, it illustrates very well New York’s urban jungle settings. Fielding uses the triangle (see the cues “Blue Imperial”, “Purse Snatcher”, “Caucasian Lads”) that will become the trade mark of his Universal series The Bionic Woman.
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| Comments: 12 (read on)
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| Film Score Blog (July 2009): Oliver Nelson Works and Zigzag!
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| Posted By:
Thomas Rucki
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7/25/2009 - 3:00 AM |
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A dichotomy exists amongst Nelson’s listeners: the purists and the musicians who only appreciate the jazz artist and the film fans who adore the soundtrack composer of the late 60’s till mid-70’s. These two parallel worlds never mix together. Have you ever tried to convince the jazz purists to dive into his 70’s television music? From a pure artistical perspective, Nelson belonged to a trio of supreme composers (1) that operated in the 70’s and did commissions for movies made for television and series. Nelson is famous to have given the best of his craft in the following Universal productions: Ironside, It Takes a Thief, The Name of the Game, Rod Serling's Night Gallery, Columbo (see "The Greenhouse Jungle"), The Six Million Dollar Man (perhaps, his all-time masterpiece) and the littlle gem Longstreet at Paramount Pictures.
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| Comments: 26 (read on)
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| Film Score Blog (June 2009): Happy Birthday to staccato Lalo Schifrin!
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| Posted By:
Thomas Rucki
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6/21/2009 - 3:00 AM |
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Pianist, jazz arranger, composer, conductor Boris Claudio Schifrin was born June 21, 1932. Studied at the Paris Conservatory and made his debut in the American jazz scene with trumpeter Dizzy Gillespie—Schifrin called him the "Pierre Boulez of Jazz"—and others (Count Basie, Quincy Jones, ...), Argentina-born Lalo Schifrin started composing two films for French actor Alain Delon: Les Félins and Once a Thief. He knew composers Igor Stravinsky and Bernard Herrmann and payed tributes to these music men in the 1990's with two albums: The Firebird that he defined as being "Jazz meets the Symphony" and Master of Mayhem that was a compilation of Hitchcock film scores combined with his own greatest hits. He composed two scores for actor Steve McQueen: The Cincinnati Kid and Bullitt and three scores for actor Charles Bronson: St. Ives, Telefon and Love and Bullets. Schifrin also was a daring modernist experimenter which achieved ambitious and unconventional works such as Hell in the Pacific, THX 1138 and The Hellstrom Chronicle. In the 1960’s, he worked for Norman Felton and his company Arena: the espionage series The Man from U.N.C.L.E. (see the suspenseful Latin score "The Fiddlesticks Affair") and the WWII series Jericho (see the hyper martial score "Upbeat and Underground")—both series were the music templates of Mission: Impossible. Oddly enough, 1966 saw three espionages series (two WWII: Jericho and Blue Light and one Cold War: Mission: Impossible) composed by Schifrin but only Mission: Impossible survived and overcame.
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| Comments: 4 (read on)
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| Film Score Blog (May 2009): The Next Dominic Frontiere vintage CD?
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| Posted By:
Thomas Rucki
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5/9/2009 - 3:00 AM |
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Last year, La-La Land Records gave us a magnificent 3-CD set of the black and white science fiction anthology The Outer Limits whose first season (1963-1964) music was composed by Dominic Frontiere and some portions by his teacher Robert Van Eps: the mariachi and action cues of "Tourist Attraction" and the ragtime tunes of "Don't Open Till Doomsday". Two years earlier, the same label released the music for the unsold pilot The Unknown that was integrated as the last episode ("The Forms of Things Unknown") of The Outer Limits' season 1. What link these two releases is one man, one company: Leslie Stevens, Daystar Productions. The question that comes to mind is what will be the next vintage CD release by Dominic Frontiere from La-La Land Records? If you examine closely the above mentioned soundtracks, you will discover a list of selected scores inside their CD case: a lead for the future. |
| Comments: 38 (read on)
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| Results: 19 articles.
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Today in Film Score History:
November 21 |
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| Don Ellis begins recording his replacement score for The Seven-Ups (1973) |
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| Malcolm Williamson born (1931) |
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| Ralph Burns died (2001) |
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| The Best Years of Our Lives premieres in New York (1946) |
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| Film Score Monthly Online |
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The Lion's Voice: Miklós Rózsa at M-G-M |
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Fantastic Mr. Desplat |
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Rolfe Kent Stares at Goats |
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Listen While You Eat: Movies about Cooking and Eating, and Music for Them. |
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Listen While You Eat: A Turkey Side Dish |
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Star Wars, Aerosmith style |
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Ear of the Month Contest |
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Soundtrack Obscurities 19: The French Edition |
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Uncharting a Course |
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Wong's Turn: Do They Know It's Christmas on Main Street? |
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Score Restore: The French Connection |
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