Hello, i want to tell you what a crazy day i had, but tonight in Manchester there was an explosion in the Manchester Arena foyer at the end of a concert by American singer Ariana Grande. Victims mainly youths, waiting parents thusfar 19 dead and 50 wounded, a nailbomb suicide attack just the thing those mentally stuck terrorists will do. But why now and there, when chances are Man United winning the Europaleague cup Wednesdaynight and big crowds would amass, did perhaps this nutcase have a thing with Ariana Grande ? My heart goes out to the victims and bereaved.
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Lalo Schifrin (born June 21, 1932) is an Argentine pianist, 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.
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That (then) unknown director George Lucas managed to secure legendary composer Lalo Schifrin for the cerebral, brooding soundtrack to his bleak (pre-Star Wars) science fiction tale THX 1138 is a testament to his legendary industry tenacity. Far removed from his collaborations with John Williams, THX bristles with dissonant choral sections, bursts of Latin-tinged percussion, and a whole lot of mid-'70s echo-laden flute solos. A great deal of the soundtrack's tone resembles Stanley Kubrick's chilly, classically cultivated score for 2001: A Space Odyssey -- Schifrin uses Bach's St. Matthew Passion over the end credits -- and while it's occasionally ironic and lighthearted (the spaghetti Western-themed "Source #4/Third Escape/Morgue Sequence/The Temple/Disruption/LUH's Death"), the bulk of it is just plain disjointed and disturbing -- "Torture Sequence/Prison Talk Sequence," with its cacophony of thumb pianos, bells, and hand drums, wouldn't have sounded out of place on the Wicker Man soundtrack. THX 1138 is a challenging and difficult listen, but fans will be pleased with Film Score Monthly's attention to detail and lovingly penned liner notes, and soundtrack buffs will finally fill a crucial hole in their sci-fi collections. It has cues that are in there own way hauntingly beautiful and others that are just plain haunting. This album will work for you even if you haven't seen the movie. Once you have heard this score, you'll want to see the movie just to find out what it's all about which is what it was for me. Recommend for Schifrin fans and definitely for film score fans.
Lalo Schifrin - O.S.T. THX 1138 (flac 288mb)
01 Logo 0:08
02 Main Title / What's Wrong? 3:14
03 Room Tone / Primitive Dance 1:46
04 Be Happy / LUH / Society Montage 5:06
05 Be Happy Again (Jingle Of The Future) 0:56
06 Source #1 5:18
07 Loneliness Sequence 1:28
08 SEN / Monks / LUH Reprise 2:44
09 You Have Nowhere To Go 1:12
10 Torture Sequence / Prison Talk Sequence 3:42
11 Love Dream / The Awakening 1:47
12 First Escape 3:01
13 Source #3 3:34
14 Second Escape 1:16
15 Source #4 / Third Escape / Morgue Sequence / The Temple / Disruption / LUH's Death 8:31
16 Source #2 3:17
17 The Hologram 0:56
18 First Chase / Foot Chase / St. Matthew Passion (End Credits) 7:40
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In 1973, Lalo Schifrin tackled a new challenge by writing the score for Enter the Dragon, an ambitious martial arts film that was the American debut of cult legend Bruce Lee. The resulting score combined Schifrin's penchant for adding jazz and funk elements to the traditional film scoring style with elements of traditional Chinese music, giving the whole combination a new, ethnic flavor. The best example of this unique fusion is the film's "Main Titles": After establishing itself with a combination of jazzy horn stabs and funky wah-wah guitar, this inventive tune layers a Chinese-style melody played by strings and synthesizers over the insistent rhythms, creating a composition that cuts across several different musical genres while still fulfilling the requirements for an exciting action film theme. Another showcase for the film's fusion of Chinese and jazz styles is "Su Lin (The Monk)," which layers Asian-styled melodic elements over churning jazz rhythms. Other highlights in the action-oriented style include "Bamboo Birdcage," which alternates moody, wind instrument-driven sections with outbursts of horn-driven funk, and "The Big Battle," which restates several of the film's action themes over a percolating bass line. There are also a few quiet interludes, like the sax-driven mid-tempo jazz of "The Gentle Softness." The result is an entertainingly diverse soundtrack whose musical invention makes it just as entertaining when listened to away from the film. Collector's note: This soundtrack was reissued in 1998 by Warner Bros. as part of a deluxe video reissue of the film in an expanded edition that restored all of the film's musical cues to the album.
Lalo Schifrin - O.S.T.Enter the Dragon (flac 310mb)
01 Prologue - The First Fight 2:36
02 Main Titles 2:20
03 Su-Lin (The Monk) 4:57
04 Sampans And Flashbacks 6:21
05 Han's Island 2:57
06 The Banquet 3:02
07 Headset Jazz 2:10
08 The Gentle Softness 2:40
09 Into The Night 3:44
10 Goodbye Oharra 1:54
11 Bamboo Birdcage 2:32
12 Han's Cruelty 2:09
13 The Human Fly 3:36
14 The Big Battle 4:47
15 Broken Mirrors 5:55
16 End Titles 1:10
17 Main Titles (Alternate) 3:17
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One of the jewels of the Label X library -- and that is saying something, considering what else is in there -- this album represents some of the most exquisite music in Lalo Schifrin's output. The music for Richard Lester's The Four Musketeers has the composer working in a distinctly European mode, very much in the manner of period concert music (ranging across a couple of centuries, as well as embracing the Hollywood and 1950's European film traditions) -- but the scoring and orchestrations, as well as some of the twists in tempo, show a few exotic twists in the details that are pure Schifrin. The result is sort of Schifrin's version of what could have been an Erich Wolfgang Korngold score -- and it's worth every minute of the listening, repeated many times over. The album is filled out with Schifrin's music for two World War II-related subjects, the thriller The Eagle Has Landed and the drama Voyage of the Damned. The former, written for a fictional thriller, relies on rich, frenzied string passages, very much in the manner of early John Barry but more animated, and ultimately -- at least until the end credit music -- very interesting to hear, even divorced from the film. The latter is much more restrained and takes its time getting listeners to where it is going, with scoring that is far more closely tied to its period (1939) and setting -- "effect" music as much as dramatic scoring, with some of the music written in the styles of the times, including a Latin-flavored section for "Hotel Nacionale" and a foxtrot for the end credit music. The quality of the recording of all three scores is excellent, and the transfer improves upon the original LP release.
Lalo Schifrin - O.S.T. The 4 Musketeers (flac 294mb)
The Four Musketeers
01 Overture
02 Atho's Story
03 Chase To The Convent
04 Musketeers Rescue Constance
05 Breakfast At The Bastion
06 A Lovely Adventure
07 Chased From The Louvre
08 Frozen Pond Fight
09 Milady's Theme
10 End Credits
The Eagle Has Landed
11 Main Title
12 The Eagle Grows, Pt.1
13 The Eagle Grows, Pt.2
14 Flight Of The Eagles
15 Eagle Verses Fox
16 End Credits
Voyage Of The Damned
17 Main Title
18 House Painter March
19 Hotel Nacionale
20 Lament
21 Tragedy; Time Pulse
22 Our Prayers Have Been Answered
23 End Credits
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Although he is best-known for film scores like Bullitt and Enter The Dragon, prolific composer Lalo Schifrin has always maintained a side career as a jazz musician. He racked up a massive success in this field in 1976 with Black Widow, a slick instrumental excursion that combined the musical dexterity of jazz with the dance-friendly rhythms of disco. This album found Schifrin turning his skills as an arranger and keyboardist to a set of material that matched up some unlikely but effective covers with a few originals. Highlights among the covers include "Quiet Village," which transforms the exotica classic into a slow-burning funk vamp dressed with plenty of spacey synthesizer, and "Moonglow & Theme From Picnic," which reworks these classic film themes by giving them keyboard-driven arrangements that are gently nudged along by an insistent beat. Black Widow also spawned a dancefloor hit with Schifrin's imaginative reworking of "Jaws," which transformed John Williams' spooky monster-movie theme into an ominous, percolating slice of nocturnal funk built on wah-wah guitar and Schifrin's elegantly jazzy keyboard excursions. In terms of the original tunes, the standout is the title track, a keyboard showcase that weaves surging strings around a funky bass groove that is fleshed out with all manner of synth and electric piano shadings. The strong disco edge to the proceedings may turn off jazz purists, but Schifrin's imaginative and stylish arrangements keep the music from succumbing to disco-beat boredom, and his expert backup band (including session stalwarts like Andy Newmark and John Tropea) attacks the material with energy and style to burn. The end result is one of the peak albums in Lalo Schifrin's lengthy catalogue and a necessity for anyone interested in his jazz work.
Lalo Schifrin - Black Widow (flac 382mb)
01 Black Widow 4:11
02 Flamingo 4:31
03 Quiet Village 5:45
04 Moonglow & Theme From " Picnic " 6:13
05 Jaws 6:47
06 Baia 4:49
07 Turning Point 3:29
08 Dragonfly 5:45
Bonus
09 Frenesi 3:53
10 Tabu 4:33
11 Baia (Alt. Take) 7:44
12 Con Alma 6:30
–
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xxxxx xxxxx xxxxx xxxxx xxxxx
Lalo Schifrin (born June 21, 1932) is an Argentine pianist, 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
That (then) unknown director George Lucas managed to secure legendary composer Lalo Schifrin for the cerebral, brooding soundtrack to his bleak (pre-Star Wars) science fiction tale THX 1138 is a testament to his legendary industry tenacity. Far removed from his collaborations with John Williams, THX bristles with dissonant choral sections, bursts of Latin-tinged percussion, and a whole lot of mid-'70s echo-laden flute solos. A great deal of the soundtrack's tone resembles Stanley Kubrick's chilly, classically cultivated score for 2001: A Space Odyssey -- Schifrin uses Bach's St. Matthew Passion over the end credits -- and while it's occasionally ironic and lighthearted (the spaghetti Western-themed "Source #4/Third Escape/Morgue Sequence/The Temple/Disruption/LUH's Death"), the bulk of it is just plain disjointed and disturbing -- "Torture Sequence/Prison Talk Sequence," with its cacophony of thumb pianos, bells, and hand drums, wouldn't have sounded out of place on the Wicker Man soundtrack. THX 1138 is a challenging and difficult listen, but fans will be pleased with Film Score Monthly's attention to detail and lovingly penned liner notes, and soundtrack buffs will finally fill a crucial hole in their sci-fi collections. It has cues that are in there own way hauntingly beautiful and others that are just plain haunting. This album will work for you even if you haven't seen the movie. Once you have heard this score, you'll want to see the movie just to find out what it's all about which is what it was for me. Recommend for Schifrin fans and definitely for film score fans.
Lalo Schifrin - O.S.T. THX 1138 (flac 288mb)
01 Logo 0:08
02 Main Title / What's Wrong? 3:14
03 Room Tone / Primitive Dance 1:46
04 Be Happy / LUH / Society Montage 5:06
05 Be Happy Again (Jingle Of The Future) 0:56
06 Source #1 5:18
07 Loneliness Sequence 1:28
08 SEN / Monks / LUH Reprise 2:44
09 You Have Nowhere To Go 1:12
10 Torture Sequence / Prison Talk Sequence 3:42
11 Love Dream / The Awakening 1:47
12 First Escape 3:01
13 Source #3 3:34
14 Second Escape 1:16
15 Source #4 / Third Escape / Morgue Sequence / The Temple / Disruption / LUH's Death 8:31
16 Source #2 3:17
17 The Hologram 0:56
18 First Chase / Foot Chase / St. Matthew Passion (End Credits) 7:40
xxxxx xxxxx xxxxx xxxxx xxxxx
In 1973, Lalo Schifrin tackled a new challenge by writing the score for Enter the Dragon, an ambitious martial arts film that was the American debut of cult legend Bruce Lee. The resulting score combined Schifrin's penchant for adding jazz and funk elements to the traditional film scoring style with elements of traditional Chinese music, giving the whole combination a new, ethnic flavor. The best example of this unique fusion is the film's "Main Titles": After establishing itself with a combination of jazzy horn stabs and funky wah-wah guitar, this inventive tune layers a Chinese-style melody played by strings and synthesizers over the insistent rhythms, creating a composition that cuts across several different musical genres while still fulfilling the requirements for an exciting action film theme. Another showcase for the film's fusion of Chinese and jazz styles is "Su Lin (The Monk)," which layers Asian-styled melodic elements over churning jazz rhythms. Other highlights in the action-oriented style include "Bamboo Birdcage," which alternates moody, wind instrument-driven sections with outbursts of horn-driven funk, and "The Big Battle," which restates several of the film's action themes over a percolating bass line. There are also a few quiet interludes, like the sax-driven mid-tempo jazz of "The Gentle Softness." The result is an entertainingly diverse soundtrack whose musical invention makes it just as entertaining when listened to away from the film. Collector's note: This soundtrack was reissued in 1998 by Warner Bros. as part of a deluxe video reissue of the film in an expanded edition that restored all of the film's musical cues to the album.
Lalo Schifrin - O.S.T.Enter the Dragon (flac 310mb)
01 Prologue - The First Fight 2:36
02 Main Titles 2:20
03 Su-Lin (The Monk) 4:57
04 Sampans And Flashbacks 6:21
05 Han's Island 2:57
06 The Banquet 3:02
07 Headset Jazz 2:10
08 The Gentle Softness 2:40
09 Into The Night 3:44
10 Goodbye Oharra 1:54
11 Bamboo Birdcage 2:32
12 Han's Cruelty 2:09
13 The Human Fly 3:36
14 The Big Battle 4:47
15 Broken Mirrors 5:55
16 End Titles 1:10
17 Main Titles (Alternate) 3:17
xxxxx xxxxx xxxxx xxxxx xxxxx
One of the jewels of the Label X library -- and that is saying something, considering what else is in there -- this album represents some of the most exquisite music in Lalo Schifrin's output. The music for Richard Lester's The Four Musketeers has the composer working in a distinctly European mode, very much in the manner of period concert music (ranging across a couple of centuries, as well as embracing the Hollywood and 1950's European film traditions) -- but the scoring and orchestrations, as well as some of the twists in tempo, show a few exotic twists in the details that are pure Schifrin. The result is sort of Schifrin's version of what could have been an Erich Wolfgang Korngold score -- and it's worth every minute of the listening, repeated many times over. The album is filled out with Schifrin's music for two World War II-related subjects, the thriller The Eagle Has Landed and the drama Voyage of the Damned. The former, written for a fictional thriller, relies on rich, frenzied string passages, very much in the manner of early John Barry but more animated, and ultimately -- at least until the end credit music -- very interesting to hear, even divorced from the film. The latter is much more restrained and takes its time getting listeners to where it is going, with scoring that is far more closely tied to its period (1939) and setting -- "effect" music as much as dramatic scoring, with some of the music written in the styles of the times, including a Latin-flavored section for "Hotel Nacionale" and a foxtrot for the end credit music. The quality of the recording of all three scores is excellent, and the transfer improves upon the original LP release.
Lalo Schifrin - O.S.T. The 4 Musketeers (flac 294mb)
The Four Musketeers
01 Overture
02 Atho's Story
03 Chase To The Convent
04 Musketeers Rescue Constance
05 Breakfast At The Bastion
06 A Lovely Adventure
07 Chased From The Louvre
08 Frozen Pond Fight
09 Milady's Theme
10 End Credits
The Eagle Has Landed
11 Main Title
12 The Eagle Grows, Pt.1
13 The Eagle Grows, Pt.2
14 Flight Of The Eagles
15 Eagle Verses Fox
16 End Credits
Voyage Of The Damned
17 Main Title
18 House Painter March
19 Hotel Nacionale
20 Lament
21 Tragedy; Time Pulse
22 Our Prayers Have Been Answered
23 End Credits
xxxxx xxxxx xxxxx xxxxx xxxxx
Although he is best-known for film scores like Bullitt and Enter The Dragon, prolific composer Lalo Schifrin has always maintained a side career as a jazz musician. He racked up a massive success in this field in 1976 with Black Widow, a slick instrumental excursion that combined the musical dexterity of jazz with the dance-friendly rhythms of disco. This album found Schifrin turning his skills as an arranger and keyboardist to a set of material that matched up some unlikely but effective covers with a few originals. Highlights among the covers include "Quiet Village," which transforms the exotica classic into a slow-burning funk vamp dressed with plenty of spacey synthesizer, and "Moonglow & Theme From Picnic," which reworks these classic film themes by giving them keyboard-driven arrangements that are gently nudged along by an insistent beat. Black Widow also spawned a dancefloor hit with Schifrin's imaginative reworking of "Jaws," which transformed John Williams' spooky monster-movie theme into an ominous, percolating slice of nocturnal funk built on wah-wah guitar and Schifrin's elegantly jazzy keyboard excursions. In terms of the original tunes, the standout is the title track, a keyboard showcase that weaves surging strings around a funky bass groove that is fleshed out with all manner of synth and electric piano shadings. The strong disco edge to the proceedings may turn off jazz purists, but Schifrin's imaginative and stylish arrangements keep the music from succumbing to disco-beat boredom, and his expert backup band (including session stalwarts like Andy Newmark and John Tropea) attacks the material with energy and style to burn. The end result is one of the peak albums in Lalo Schifrin's lengthy catalogue and a necessity for anyone interested in his jazz work.
Lalo Schifrin - Black Widow (flac 382mb)
01 Black Widow 4:11
02 Flamingo 4:31
03 Quiet Village 5:45
04 Moonglow & Theme From " Picnic " 6:13
05 Jaws 6:47
06 Baia 4:49
07 Turning Point 3:29
08 Dragonfly 5:45
Bonus
09 Frenesi 3:53
10 Tabu 4:33
11 Baia (Alt. Take) 7:44
12 Con Alma 6:30
–
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2 comments:
Your blog kills me! Lalo Schifrin! Awesome.
I'm loving the Lalo Schifrin repost you've already done. Can you re-up the OST for THX 1138 and Enter The Dragon next week please?
Thanx
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