May 30, 2017

RhoDeo 1722 Roots


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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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After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's disco/jazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow.

Lalo Schifrin - Towering Toccata (flac  181mb)

01 Towering Toccata 5:04
02 Frances' Theme - From The Motion Picture " The Day Of The Animals " 4:19
03 Macumba 6:13
04 Eagles In Love 2:51
05 Theme From King Kong 4:13
06 Most Wanted Theme 2:45
07 Midnight Woman 6:07
08 Roller Coaster 4:46

  (ogg  mb)

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After a brief stint at contemporary jazz label CTI, Lalo Schifrin signed to Tabu Records, where the composer made two records that blurred the line between fusion and disco. Gypsies, his first record for Tabu, uses that polyester swagger as a foundation but Schifrin decided to indulge his ambitions on the 1978 album, choosing to create an instrumental conceptual record that somewhat traces his Argentine roots but also feels like it exists at a crossroads where fusion, disco, and prog rock all meet. In other words, Gypsies feels very, very 1978, pulsating to a glittery four-four beat and colored with clavinets and squealing analog synthesizers. As intended, there is a feeling of a journey here: it's all widescreen vistas and spectacles, where even slower songs like "Prophecy of Love" feel designed for a silver screen. Such is the curse of the film composer but that sense of scale is the most admirable thing about Gypsies, a record that sometimes gets weighed down by its period accouterments, particularly those omnipresent squalling synths. Then again, that period charm is a good reason to listen to Gypsies: it is an album, after all, that could've only been made in the year of 1978. [Edsel's 2014 expansion of Gypsies contains three bonus tracks, all radio versions of songs on the album: "Moonlight Gypsies," "Fortune Tellers," and "Prophecy of Love."]

Lalo Schifrin - Gypsies   (flac  284mb)

01 Cast A Spell 5:40
02 King Of Hearts 5:14
03 Moonlight Gypsies 4:57
04 Fortune Tellers 4:40
05 Gauchos 5:34
06 Pampas 5:32
07 Prophecy Of Love 3:39
08 Ring Around The Moon 5:23
09 Moonlight Gypsies (Radio Version) 3:11
10 Fortune Tellers (Radio Version) 3:05
11 Prophecy Of Love (Radio Version) 3:05

 Lalo Schifrin - Gypsies   (ogg   126mb)

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In 1983, Viva Records released the soundtrack to Sudden Impact, which also contained music from two other scores written by Lalo Schifrin for Clint Eastwood's Dirty Harry series of detective thrillers, Magnum Force and The Enforcer. (There were five Dirty Harry films in all, and Schifrin wrote the music for four of them.) The Dirty Harry Anthology, issued on Schifrin's own label, presents his newly recorded versions of music from the first film, Dirty Harry (1971), as well as Magnum Force (1973), and Sudden Impact. The earlier scores contain typical elements from their time, including the plucked bass and wah wah guitar sounds typical of Shaft and other scores of the time. As action movies, of course, the soundtracks require a fair amount of music to support and complement tense action sequences, and Schifrin delivers, mixing jazz and rock elements with other styles. From the start, with Eastwood's famous "Do you feel lucky?" speech from the first movie, the series is effectively evoked, and the music holds up, maybe even better than the frankly politically incorrect films do.

Lalo Schifrin - Dirty Harry Anthology (flac  230mb)

Dirty Harry
01 Dirty Harry's Creed 3:27
02 Scorpio's Theme 3:08
03 Sudden Impact 2:51
04 Road To San Paulo 1:07
05 Hot Shot Cop 1:25
06 Magnum Force Theme 2:10
07 Stake-Out 2:33
Magnum Force
08 Another Victim 1:19
09 Robbery Suspect 2:15
10 Floodlights 1:35
11 The Cop 2:00
12 Unicorn's Head 2:39
Sudden Impact
13 Good-Bye Cop 1:27
14 The Bait 0:48
15 San Francisco After Dark 3:06
16 The Crooks 1:37
17 The Mayor 2:24
18 Palancio 4:07
19 Ray Of Light 2:05

Lalo Schifrin - Dirty Harry Anthology (ogg  87mb)

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In 1966, when Dizzy Gillespie arranger and spy soundtracker Lalo Schifrin finished recording a Baroque album, he decided to make it a tribute to the Marquis de Sade -- in league with a play then circulating in the West End and on Broadway. Making the Third Stream seem like Percy Faith in comparison, the LP practically disappeared upon release on Verve, but enjoyed a long shelf life among idiosyncratic jazz fans. Thirty-five years on, Return of the Marquis de Sade is the sequel, with a host of songs comprising jazz rhythms and soloing, though a predominant use of Baroque instrumentation. Several of the song titles, including "Relaxin' at Charenton" and "A Night in Venezia," pun on famous jazz standards, while the performances crackle with imagination and energy. The final three tracks were recorded in tandem with Ray Brown, Grady Tate, Tom Scott, Brian Bromberg, and the London Philharmonic.

Lalo Schifrin - Return Of The Marquis De Sade (flac  305mb)

01 Relaxin' At Charenton 5:31
02 A Lover's Mask 5:54
03 Come My Way 5:03
04 A Night In Venezia 7:07
05 The Marquis Is Back 5:57
06 Justine 5:41
07 Bach To The Blues 5:25
08 Eine Kleine Jazz Music 3:24
09 Madrigal 4:05

Lalo Schifrin - Return Of The Marquis De Sade (ogg  115mb)

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Cass said...

The .ogg link for Gypsies 'cannot be found', Rho...

Rho said...

hello Cass forgot to enter the link , however it's there now...N'Joy

Cass said...

Many thanks to you, Rho :)

dh said...

Thanks for the Lalo Schifrin music; I knew he was prolific but this is amazing. Could you check the ogg link for Return Of The Marquis De Sade please?

Rho said...

Hello dh, Lalo has been prolific and what i posted here is just part of his work, anyway forsome reason ive been sloppy posting the oggs but it's all there now.....enjoy

dh said...

Thanks for the ogg link. As a kid I heard lots of Lalo's songs for TV and movies without knowing who was the composer. Some were light, some crisp brassy/blatty/sassy, "The Now Sound!" This is extra great to find out he released regular (non-soundtrack) LP albums too.