May 16, 2017

RhoDeo 1720 Roots


xxxxx xxxxx xxxxx xxxxx xxxxx

Lalo Schifrin (born June 21, 1932) is an Argentinepianist, composer, arranger and conductor. He is bestknown for his film and TV scores, such as the "Themefrom Mission: Impossible ". He has received four Grammy Awards and six Oscar nominations. Schifrin, associated with the jazz music genre, is also noted for work withClint Eastwood in the late 1960s, 1970s and 1980s, par-ticularly the Dirty Harry films.

Schifrin was born in Buenos Aires to Jewish parents. His father, Luis Schifrin, led the second violin section of the orchestra at the TeatroColón for three decades. At the age of six, Schifrin began a six-year course of study on piano with Enrique Barenboim, the father of the pianist and conductor Daniel Barenboim. At age 16, Schifrin began studying piano with the Greek-Russian expatriate Andreas Karalis, former head of the Kiev Conservatory, and harmony with Argentine composer Juan Carlos Paz. During this time, Schifrin also became interested in jazz. Although Schifrin studied sociology and law at the University of Buenos Aires, it was music that captured his attention.

At age 20, he successfully applied for a scholarship to the Paris Conservatoire. At night he played jazz in the Paris clubs. In 1955, Schifrin played piano with Argentinian bandoneon giant Ástor Piazzolla, and represented his country at the International Jazz Festival in Paris.

After returning home to Argentina, Schifrin formed a jazzorchestra, a16-piece band that became part of a pop-ular weekly variety show on Buenos Aires TV. Schifrin also began accepting other film, television and radio as-signments. In 1956, Schifrin met Dizzy Gillespie and offered to write an extended work for Gillespie’s big band.Schifrin completed the work, Gillespiana, in 1958 (it was recorded in 1960).

Later that year Schifrin began working as an arranger for Xavier Cugat's popular Latin dance orchestra.While in New York in 1960, Schifrin again met Gillespie, who had by this time disbanded his big band for financial reasons. Gillespie invited Schifrin to fill the vacant piano chair in his quintet. Schifrin immediately accepted and moved to New York City. Schifrin wrote a secondextended composition for Gillespie, The New Continent, which was recorded in 1962. In 1963, MGM, which hadSchifrin under contract, offered the composer his first Hollywood film assignment with the African adventure Rhino!
Schifrin moved to Hollywood late that year. He also radically re-arranged the theme for the popularNBC-TV series  The Man from U.N.C.L.E., altering original composer Jerry Goldsmith's theme to a jazzy melody emphasizing flutes and exotic percussion, which wound up winning the Emmy award for Best TV Theme in1965.One of Schifrin’s most recognizable and enduring com-positions is the theme music for the long-running TV se-ries Mission: Impossible. It is a distinctive tune written inthe uncommon 5/4 time signature. Similarly, Schifrin’s theme for the hugely successful  Mannix private eye TVshow was composed a year later in a 3/4 waltz time; Schifrin composed several other jazzy and bluesy num-bers over the years as additional incidental music for the show. Schifrin’s“Tar Sequence” from his Cool Hand Luke score(also written in 5/4) was the longtime theme for the Eyewitness News broadcasts on NewYork station WABC-TV and other ABC affliates, as well as National Nine News in Australia. CBS Television used part of the the me of his St. Ives soundtrack for its golf broadcasts in the1970s and early 1980s.Schifrin’s score for Coogan’s Bluff in 1968 was the beginning of a long association with Clint Eastwood and di-rector Don Siegel. Schifrin’s strong jazz blues riffs were evident in
 Dirty Harry Schifrin’s working score for 1973’s  The Exorcist was re-jected by the film’s director, William Friedkin. Schifrin had written six minutes of difficult and heavy music for the initial film trailer, but audiences were reportedly frightened by the combination of sights and sounds.Warner Bros. ecutives told Friedkin to instruct Schifr in to tone it down with softer music, but Friedkin did not relay the message. Schifrin’s final score was thrown out in to the parking lot. Schifrin reported in an interview that working with Friedkin was one of the most unpleasant ex-periences in his life.

Over the next decade, Schifrin would score films like The Cincinnati Kid, Bullitt, Cool Hand Luke, Dirty Harry, and Enter the Dragon. As a jazzer, he wrote the well-received "Jazz Mass" suite in 1965, and delved into stylish jazz-funk with 1975's CTI album Black Widow. Schifrin continued his film work all the way through the '90s; during that decade, he recorded a series of orchestral jazz albums called Jazz Meets the Symphony, and became the principal arranger for the Three Tenors, which complemented his now-dominant interest in composing classical music.

xxxxx xxxxx xxxxx xxxxx xxxxx

Preempting the more popular Casino Royale by a year, 1966's The Liquidator spoofs the Bond movies that dominated box offices throughout the decade. And in lieu of Burt Bacharach's at times predictably ribald soundtrack to the former film, arranger and composer Lalo Schifrin keeps things basically straightforward and swinging on The Liquidator. As is the case with John Barry's Bond albums, Schifrin kicks things off with a bravura vocal rendition of the title track, here featuring none other than the brightest of Bond singers, Shirley Bassey (this almost trumps her "Goldfinger" performance). Then, filling out the bulk of the album, he deftly lays down an instrumental mix of crime jazz ("Riviera's Chase"), Getz-issue bossa nova ("Boysie's Bossa Nova"), strings and flute ballads ("Tilt"), and Hammond B-3 boogaloo ("The Bird"). Taking a few cues from Mancini, Ellington, and Bacharach, Schifrin fashions a fetching lounge backdrop here, with enough of the way of original and sophisticated touches to make it worthy of the competition.

Lalo Schifrin - O.S.T. The Liquidator (flac  355mb)

01 Arc De Triomphe 2:21
02 The Pissoir/767,2274 Tank Corp 1:47
03 The Liquidator (Vocal by S. Bassey) 2:18
04 March of the Gard/Find a Murderer 1:21
05 The Bird 3:37
06 The Penthouse/Boysie's Bossa 3:21
07 The Secret Act 0:59
08 Boysie's Bossa 2:20
09 Carry On 1:28
10 Casino Rhapsody 3:27
11 Pressure/No Trouble/Tub Station 1:59
12 The Killer 1:47
13 Bikini Waltz 2:21
14 Iris 2:53
15 Goot Groove 2:56
16 The Sea, The sky and the Spies 1:34
17 The Fishing Net Trap/It's Late in Cell/The Torture Chamber/The Strappado/Corale 3:03
18 Something Wrong/Yacov/Riviera Chase/Fight on a Cliff 4:49
19 Tilt 2:00
20 Car Tailing Sequence 3:57
21 SEction B Paragraph 2/The Liquidator (Vocal By S.Bassey) 2:26
22 Boysie's Bossa (Inst.Sax Versioln) 2:48
23 Tilt (Source) 4:20
24 The Liquidator* (Vocal by S.Bassey) 2:16

xxxxx xxxxx xxxxx xxxxx xxxxx

Of all the film scores Lalo Schifrin has composed -- good and bad, and yes, he's done some stinkers -- the score to Stuart Rosenberg's 1967 film Cool Hand Luke, a star vehicle for Paul Newman, is among his greatest achievements. First, there is the score itself, pure cinema in scope, breadth, and architecture. Next is its attempted marriage to bluegrass music -- not entirely successful, but pretty great anyway -- and finally there is Schifrin's attempt to offer an actual view of the character through the score, not just provide a series of incidentals to accompany the movement of a plot. The complexities of Newman's Luke are borne out in a score that works futuristic themes (like the CNN-meets-Star Trek music for the "Tar Sequence," the most problematic in the film), gorgeous jazz elements (just check out "Lucille," a seductive love theme if there ever was one), and bluegrass concepts into a framework where they were needed but would be obtrusive no matter where they were placed -- like Luke himself. This shows through loud and clear on "Egg-Eating Contest," even if Schifrin's sensibilities run closer to Jobim than Bill Monroe. There is also the delightful, Stephen Foster-ish theme called "Plastic Jesus," with Tommy Tedesco playing a sweet banjo and guitar over a lush, melancholy string arrangement. It's here that the drama in the film turns into the only fate a character like Luke can have befall him. Immediately after this beautiful interlude comes a heavily reverbed psychedelic banjo that threatens to rip the insides out of "Foggy Mountain Breakdown," but instead becomes a suspenseful meditation on clarity called "I Got My Mind Back." The knowledge of all that transpired previously is clearly in every wash of the strings over the harp. "Ballad of Cool Hand Luke" is heard as the beginning of the last third of the film comes into play. A harmonica carries its melody against a backdrop of horns, electric guitars, and percussion. It's almost like Fred Neil's "Everybody's Talkin'," as scored by Jobim during his Warner Bros. period. As "Dog Boy" begins to signal the beginning of the end, brass and a rumbling piano challenge one another momentarily as a wash of strings and a bongo find their place in the mix to carry its drama. The castanets spot-check the horns and winds, changing the dynamic from tense to unbearable, and escalating that sensation three times inside as many minutes. Here, though, the end title doesn't end the score: There are bonuses that weren't part of the original film. As the reverie of the end title played so simply by Tommy Tedesco becomes a poignant memory of the film's hero and his struggle -- as well as his laughter -- listeners will find themselves wanting more, as did viewers of the film. Here, after the soundtrack is over, Lalo and Donna Schifrin have provided listeners with two large bonuses: One is a gorgeous symphonic sketch -- almost seven minutes long -- of the various themes in Cool Hand Luke, and the other is a lost treasure, the original recording of "Down Here on the Ground," recorded by everybody from Wes Montgomery to Gerald Wilson to Oscar Peterson. It's a straight-up jazz melody, languid, wistful, and beautiful in its elegantly swinging whispers and sliding, dancing grace. What a bonus! This makes Cool Hand Luke, in stunning 24-bit remastered sound, an essential soundtrack in the library of any serious -- or casual for that matter -- film music collector.

Lalo Schifrin - Cool Hand Luke   (flac  338mb)

01 Main Title 2:06
02 Tar Sequence 3:11
03 Just A Closer Walk With Thee 2:53
04 The Chase 3:17
05 Lucille 2:44
06 Egg Eating Contest 2:58
07 Eye-Ballin Glasses 2:25
08 Arletta Blues 2:53
09 Criss-Crossing The Fence 2:18
10 Plastic Jesus 1:57
11 Got My Mind Back 3:08
12 Ballad Of Cool Hand Luke 2:34
13 First Morning 1:49
14 Bean Time 1:11
15 Road Gang 1:47
16 Radio In Barracks 1:48
17 Dog Boy 3:09
18 End Title 2:13
19 Symphonic Sketches Of Cool Hand Luke 6:58
20 Down Here On The Ground (Symphonic Version) 5:59

xxxxx xxxxx xxxxx xxxxx xxxxx

Before the days of "Music from and inspired by," there was "Music from." The album is solely comprised of music used in the Mission: Impossible TV series. All of it was composed by Lalo Schifrin for the show and is played on the album by his band, with him on the piano. This in and of itself is something special for the listener, as Schifrin is an amazing jazz player (played with Dizzy Gillespie's small band for a number of years, still occasionally plays here and there). The compositions are, of course, outstanding, as can be expected, as Schifrin spent quite a bit of time writing themes, etc., for the Hollywood set. He also shows his wide range on the album, spending some time away from his leanings on softer, lounge type songs, such as "Cinnamon (The Lady Was Made to be Loved)" for Barbara Bain's character. Most of the album, though, follows through mainly with much more exciting tracks from the series. These more exciting ones are mainly single character "themes," such as "Wide Willy" for Peter Lupus' character and "Barney Does It All" for Greg Morris' character. The highlights of the album are, of course, the opening theme, "Mission: Impossible," with its pounding bass piano riffs, and the ending theme, "Mission: Accomplished." Any fan of the show should try and find this album at a used music shop, but more specifically fans of Lalo Schifrin (and that could be quite a few, as he remained uncredited on some of his TV themes) should definitely check the album out.

Lalo Schifrin - Music From Mission Impossible (flac  247mb)

01 Mission: Impossible 2:31
02 Jim On The Move 3:12
03 Operation Charm 2:55
04 The Sniper 3:20
05 Rollin Hand 2:48
06 The Plot 2:25
07 Wide Willy 2:03
08 Cinnamon (The Lady Was Made To Be Loved) 2:36
09 Barney Does It All 2:30
10 Danger 2:44
11 Mission: Accomplished 2:40
Bonus from ''More Mission Impossible''
12 Intrigue 2:35
13 Self-Destruct 2:38
14 More Mission 2:46

xxxxx xxxxx xxxxx xxxxx xxxxx

After establishing himself in the television world with the classic Mission: Impossible theme, Lalo Schifrin soon made himself equally famous in the world of film music with his work on the soundtrack of the Steve MacQueen cop thriller Bullitt. This classic soundtrack found Schifrin combining the skills he honed as an arranger for jazzmen like Count Basie with the gift he developed for writing tight, punchy themes on television soundtracks like The Man From U.N.C.L.E. and Mission: Impossible. The end result is an exciting score that deftly blends traditional orchestral film-scoring techniques with the rhythms and swings of classic jazz. This combination is perfectly presented on "Bullitt (Main Title)," a jazz-pop instrumental that starts with an angular, staccato bass line and quickly layers on jazz guitar and controlled bursts of brass to create a tune that swings and thrills all at once. Other gems in this vein include "Shifting Gears," which adds and subtracts layers of dissonant strings and brass over an insistent, percolating groove from the rhythm section, and "Ice Pick Mike," a chase theme that builds from piano and percussion to a full-blown jazz instrumental complete with a wild horn section. Elsewhere, Schifrin effectively slows down the rhythms to craft lush instrumentals that manage to create a lighter, more pensive mood without losing their jazz edge: "The Aftermath of Love" layers gentle trumpet and flute lines over string-sweetened rhythms and "The First Snowfall" is a bright, horn-driven piece that applies the album's swinging brass section to a poppy melody. Everything on the album is visually evocative the way good soundtrack music should be, yet the individual cuts are tight and melodic enough to hold up to repeated listens. The score is a driving, perpulsive jazz funk, as cutting edge as any, non-rock soundtrack of the era. The music is filled with popping, bluesy bass patterns, jazzy flute, and outstanding, smaple-worthy drumming. Like the film or not, the soundtrack is a funk masterpiece, a soundtrack that succeeds both as a film score and a stand-alone album. This unique combination makes Bullitt one of the finest achievements in the Lalo Schifrin catalog and one of the best action film scores ever written.

Lalo Schifrin - O.S.T. Bullitt (flac  343mb)

01 Bullitt, Main Title (Movie Version) 3:05
02 Shifting Gears 3:12
03 Ice Pick Mike (Movie Version) 3:58
04 Cantata For Combo 2:51
05 Room 26 (Movie Version) 2:28
06 On The Way To San Mateo 2:36
07 Just Coffee 3:03
08 Main Title (Record Version) 2:13
09 The Aftermath Of Love 3:01
10 Ice Pick Mike (Record Version) 3:07
11 Hotel Daniels 3:32
12 Bullitt, Guitar Solo 1:34
13 The First Snow Fall 3:41
14 Room 26 (Record Version) 3:39
15 Song For Cathy 4:29
16 The Architect's Building 1:47
17 Music To Interrogate By 2:51
18 End Credits 3:51

xxxxx xxxxx xxxxx xxxxx xxxxx


thecatkeaton said...

Could you repost please?

Roger Murphy said...

Hi Rho

Did'nt Lalo Shifrin also compose the music
for Goerge Lucas's early cult classic "THX 1138"
It's a superb sound track.

Kindest regards
RogertheDodger : )

Rho said...

Hello Rodger sure did i posted THX 1138 a week later

Roger Murphy said...

Hi Rho

Excellent, I must check it out,
I prefer it in FLAC.

Kindest regards
Rogerthedodger : )