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Ascenseur pour l'echafaud / Recorded 13 years apart, these two Miles Davis soundtracks are as different from one another as the movies for which they were recorded. The first, Ascenseur pour l'echafaud (or "Lift to the Scaffold"), accompanies a well known French noir by Louis Malle. A Tribute to Jack Johnson, on the other hand, accompanies a little known boxing documentary by William Cayton. The music for Malle's film is suitably moody and murky. No one does that mood quite as well as Miles. He had the right tone and disposition to convey seething angst in the face of existential doubt. This Fontana reissue comes with excellent liner notes and many bonus tracks. Miles' sidemen on the date include Barney Wilen on tenor sax, Rene Urtreger on piano, Pierre Michelot on bass and Kenny Clarke on drums. The music for the boxing doc is a prime example of Miles' early '70s funky electric period -- it's by turns combative and meditative. There are just two tracks, both running in excess of 25 minutes. "Right Off" is generally uptempo and "Yesternow" is generally downtempo. That said, each track meanders in and out of musical ideas and moods -- much like everything else Miles recorded during that period. The band features stellar sidemen Herbie Hancock, John McLaughlin, Steve Grossman, Billy Cobham and Michael Henderson. It's worth noting that Sony/Columbia will issue a 5CD box version of Jack Johnson, complete with rare outtakes and versions of tracks that appeared on other Miles albums of that influential era. [ to the top, baby! ] |
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Jazz en el Cine Negro Espanol 1958-64 The package's luridly illustrated bi-lingual insert explains how the crime films of Julio Coll, Juan Bosch and other directors broke significant stylistic ground by delving into the seedy side of life in Franco's Spain through such films as Un Vaso de Whisky (aka A Glass of Whiskey, '58) and A Sangre Fria (aka In Cold Blood, '59). Jazz En El Cine Negro Espanol delivers a riveting 79-minute program of hard-boiled brass, vulgar organ tones, well-chilled vibes and smoky atmosphere. Most of the music is by Jose Sola, with additional tracks by Augusto Alguero, Enrique Escobar and Federico Martinez Tudo, who are relatively unknown to film music fans. Essentially, this Fresh Sound compilation produced by Jordi Pujol marks the first exploration into a neglected realm for many soundtrack connoisseurs. It will be a welcome addition to their collections. Although one might expect frequent use of percussion and Latin rhythms, there is a fair amount of stylistic experimentation here. Some of the best passages employ the frenetic percussive style to depict dramatic action far from the dance floor. Other tracks favor swing and jazz styles that wouldn't sound out of place in a typical Hollywood production of the era. There's even a bit of rollicking rock 'n' roll featuring jangling electric guitar rhythms and wailing saxophone. Reinforcing the Hollywood influence is the presence of American singer Gloria Stewart on the slow, sultry "Manhattan Blues." Peppered with dialogue and the sounds of on-screen action, the listening experience is akin to playing a video just for the aural atmosphere. About half of the tracks exceed the 10-minute mark as multiple cues flow one after another. This is an ideal personal soundtrack for fans of vintage crime novels. Like watching a film noir festival, however, the experience is likely to encourage heavy drinking and cigarette smoking! |
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Jazz
Goes to Hollywood No, this isn't a soundtrack per se -- in fact, it's a live album -- but it does collect some of Lalo Schifrin's best soundtrack work. The composer himself conducted the WDR Big Band through a diverse selection of titles, recorded live in Cologne, Germany in 1999. He kicks things off with "Down Here on the Ground" from Cool Hand Luke, as sung by Sandra Booker. This is followed by a rousing version of "The Cat" from Joy House, which organ master Jimmy Smith recorded with Schifrin in the 60s. From there, we get honorable arrangements of music from The Osterman Weekend, The Cincinnati Kid, The Fox and so on. Schifrin even plays piano on "Mission: Impossible". Best of all is the rendition of "Bullitt", which definitely lives up to the original. Also worth noting is the fact that many of the selections are from soundtracks that are very difficult to find, like Once a Thief, Roller Coaster, Joy House, etc.) A must for Schifrin fans. |
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From Sweden to You Jet Set Sweden is a retro groove crew that either didn't get the memo that lounge culture has fallen out of fashion (or it simply hasn't in Sweden) or they are determined to do what they like regardless of mainstream tastes. In any case, From Sweden to You features excellent musicianship, tight arrangments and a plethora of familiar themes. Any CD that starts with a Latin-esque "Star Trek" and ends with a rockin' "Police Woman" deserves a listen, right? Absolutely. Jet Set Sweden appears to be Scandinavia's answer to Morricone Youth (before that New York band turned its attention to original compositions). Among the covers on From Sweden to You are Francis Lai's "A Man and a Woman," Lalo Schifrin's "The Man from THRUSH" and "Danube Incident." Not all are TV/movie themes. The band also covers Sid Ramin's "Music to Watch Girls By" Esquivel's "Mini Skirt" and The Monkees' "I'm a Believer." Certainly the centerpiece of the disc is the four-part crime theme suite, which includes music from Our Man Flint, Come Spy With Me, Secret Agent, The Man from UNCLE, The Ipcress File, Lady in Cement, I Spy, Checkmate, The Fugitive, The Girl from UNCLE, The Avengers, Peter Gunn and The Persuaders. The suite alone is worth the price of admission. Jet Set Sweden is Martin Persson on Hammond B-300, accordian and piano; Jerker Eklund on guitars; Mats Deltin on bass guitar; and Ola Bothzen on drums and percussion. Visit: www.jetsetsweden.com |
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Johnny
Cool Billy May made a name for himself as an assured swing leader and as a fine orchestral foil for Frank Sinatra. For this little known movie starring Henry Silva (The Manchurian Candidate), Elizabeth Montgomery (Bewitched) and a host of others, May stayed true to his style. Tracks like "The Lizard" and "Johnny Cool Theme" feature slinky rhythms, brash brass, tinkling piano and atmosphere that oozes bachelor pad swank. Speaking of "pads", how groovy could this score be without a track called "The Coolest Pad"? Also welcome are two vocal performances by Rat Packer Sammy Davis, Jr., who also stars in the movie as a cat who wears an eyepatch and a goutee and goes by the name "Educated". If you like latin rhythms, check out "Juan Coolisto". Bear in mind, too, that fellow Rat Packer Peter Lawford was the Executive Producer of the flick. And since this is a Ryko/MGM release expect well-illustrated, insightful liner notes. Killer stuff. |