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First
Impressions
August 1999
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August
25, 1999 |
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Endurance by John
Powell
FIR - 9/10
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(RCA/ Victor)
John Powell, with a little help from Hans
Zimmer, hit the mark with this effort. I had not heard a word
about this film or score until I found it sitting inconspicuously on
the CD rack at my local score-pusher. No pomp. No hype, but
this is a very good score and CD release. HDCD technology is
employed in the recording for a great sound. As for Powell's
score, it is top notch. Expecting some Power of One-isms, I am
shocked at how enjoyable the score is and it not sounding anything
like TPOO. At times it sounds more Middle-Eastern and at
others Far Eastern than African. However, these are authentic
Ethiopian instruments, vocals, and rhythms. There are moments
of sadness and loneliness contrasted with spectacular tracks of joy
and triumph- my initial favorites being the Main Titles (track 2)
and The Final Race (track 15). Unfortunately, the final track
(My Son) doesn't flow too well with the rest of the CD and is a bit
repetitious. Other than that, this is a winner.
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Zork: Grand Inquisitor
by John Beal
FIR -
5/10
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(Opus Pocus Records -
Promo)
Veteran composer John Beal's work for this video game
is best described by the games director, Laird Malamed, "...funny,
but with enough to seriousness to still be dramatic." As
gametracks go, I would say this was a fair work. It is
prototypical John Beal and is unmistakably music composed for a
computer game. Most of the time it is comical, but there are a
few moments that are a bit more mellow and easy to listen to;
however, they are very short instances...as a video game would
dictate. While Zork isn't likely to be a score someone listens
to over and over, it does demonstrate John Beal's gift with the
synth.
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Close
Encounters: The Essential John Williams Film Music Collection
by John Williams
FIR -
8/10
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(Silva)
Continuing their
wonderful "Essential Film Music Collection," Silva may have
produced their best one yet. In compiling selections from Mr.
Score, John Williams, Silva has managed to place some of his best
known alongside of some never heard outside of their
film-hosts. Each track is skillfully played by the City of
Prague Philharmonic and conducted by Bateman and Raine. Who
else? A varied but accurate sampling of William's work is
found on this 2 CD set. Some of my favorites have been redone
superbly: Indiana Jones, Hymn to the Fallen, and The Towering
Inferno. Some pleasurable surprises for me were: Amistad
(better than the OST - as the chorus wasn't so nasally irritating),
and The Rare Breed; however, the greatest joy was the suite from
Black Sunday (An eerie precursor to many of the themes found in Star
Wars.) The only draw backs to this release is Close Encounters and
the two tracks from the Star Wars Trilogy. These are a part of
that group of scores that can only be done by the maestro himself,
but I give Silva and the CPPO credit for the attempt.
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Elizabeth
by David Hirschfelder
FIR -
7/10
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(Polygram)
This powerful score from David Hirschfelder
was one of the best scores of 1998. It's power and haunting
atmosphere immediately make their presence felt with the opening
track and Hirschfelder's high quality music continues through track
13. As haunting as the overture is, the Love theme is equally
forceful in its simple beauty. Aside from Hirschfelder's
marvelous scoring, pieces from Byrd, Elgar, Susato and Mozart are
incorporated...and done so seemlessly. This is more of a
tribute to Hirschfelder's ability to produce a score that can stand
shoulder to shoulder with these classical composers as well as to
the movie's director.
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August 21,
1999 |
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The Reel Burt Bachrach
FIR - 6/10
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(Hip-O)
A revival of "the music your
parents listened to" or maybe it is music that reminds you of your
childhood - the music of Burt Bachrach appears to be back. This
compilation CD not only highlights some of his greatest vocal pop hits but
contains instrumental versions of some of his most familiar
themes: Raindrops keep fallin on My Head, The April Fools, A House is not
a Home," The jazz style of the sixties is unmistakable and
Bachrach was won of the best of his era. Collaborating with artists
such as B.J. Thomas, Tom Jones and Herb Alpert, Bachrach helped to define
the trademark sound of the sixties. The liner notes are superb and
informative, but the recording is sub par. However, his works from 80's
have been recorded with much greater clarity. While not a traditional
score compilation this release by Hip-O Records pays homage to a many
deserving of recognition for his contributions to the world of film
music.
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The Reel Quincy
Jones
FIR - 8/10
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(Hip-O)
A true pioneer of
film and television scoring, Quincy Jones has composed for some of the
most honored films and well television shows of the last thirty
years. From jazz, to blues, to funk, to the epic African score to
Roots, Quincy Jones not only went where few African-Americans did in the
sixties, but help to make film and television music listenable and
memorable. One can hardly keep from "getting' jiggy widit"
when listening to Money Runner, Rack 'Em Up, or They Call Me Mister
Tibbs. Contrast that with his B.B. King performed "you Put It
on Me," or the distinctly Brazilian jazz piece "Soul Bossa
Nova," and one can see the great range of this composer. Once again,
this is not the typical film score compilation, but like Hip-O's
compilation for Bachrach and Schifirin, a worthy effort. The notes,
once again, are extensive, but the recordings as a whole are a bit cleaner
than the whole of The Reel Burt Bachrach.
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The Reel Lalo Schifirin
FIR - 8/10
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(Hip-O)
Continuing in
their jazz/big band flavored series, Hip-O has compiled some of Lalo
Schifirin's smoothest works for film and television. Like the other
two in The Reel Series, Burt Bachrach and Quincy Jones, this CD audibly
brings the listener back a few decades. Schifirin's work helps to
demonstrate how versatile the film music can be. Sharing a common
jazz root with Bachrach and Jones, Schifirin made his own mark on the film
and television music world. The big band of "Coney Island" from
the Sting II and mildly contemplative guitar of Cool Hand Luke show off
Lalo Schifirin's wide spectrum of ability. Thankfully, some of the
most familiar of his works are to be found on this CD, including: Mannix,
Mission: Impossible, and Dirty Harry's Creed. Sharing impressive
graphical layout, intriguing liner notes and along with The Reel Quincy
Jones, this release upholds the high class standard set by the other two
compilations in Hip-O's The Reel series.
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August 14, 1999
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Durango by Mark
McKenzie
FIR - 8/10
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(Intrada)
Mark
McKenzie delivers a delightful surprise with his score for the Hallmark
Hall of Fame TV movie, Durango. Combining Horneresque elements with
a bit of John Williams' Far and Away...and even a nod to some of Trevor
Jones' work, McKenzie creates a easy to listen to (and appreciate)
score. Intrada has provided a good amount of the score to enjoy,
including a wonderful suite of themes that begins the CD. If you
love Braveheart, the above mentioned Far and Away or even The Last of the
Mohicans, then this score has something to offer to you.
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The Mummy by Jerry
Goldsmith
FIR -6/10
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(Decca)
Listening to
Goldsmith's score to the special effects spectacle, The Mummy, was a
surprisingly underwhelming experience. To begin, the liner notes for
The Mummy are of the sort that you open once and never again. Enough
said. Next, from time to time, I thought I was listening to The
Prince of Egypt (Zimmer) and at other times I expected to hear the
heartily used Klingon theme to break in at any moment. The Mummy is
not a bad score, by no means. Goldsmith continues in his patented
style - demonstrated by crisp brass and strings, explosive percussions and
haunting vocals. However, the variation in style of themes is
not as numerous as Zimmer's late '98 Egypt-score and The Mummy, as
released by Decca, falls a bit short of the animated films' score
simply due to the fact that it is almost entirely of the action/suspense
variety.
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Hitchcock Presents:
Signatures in
Suspense
by Various
FIR -
7/10
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(Hip -O)
The
Maestro of Suspense, director Alfred Hitchcock, was fortunate to have some
of greatest composers of the 20th century to work with: Tiomkin, Waxman,
Hermann. This compilation CD showcases some of the best
collaborations between director and composers. Most of the
recordings are 30-45 years old and the antiquated sound helps to keep the
Hitchcock nostalgia alive. From the sentimental theme from I Confess
to the jazzy Juke Box #6, to Hermann's hypnotic-pulsating theme from Psycho,
this compilation serves a musical buffet. The release even contains
some previously unreleased material from Bernard Hermann- his rejected
score for Torn Curtain. Also, a bit of John Williams' Family Plot is
included, which was recently released on Silva's John William's
compilation CD. The black and white packaging is simply
terrific. There are great photos of the director and an extensive
set of liner notes detailing the history of each track. This is
certainly a worthy release from Hip-O.
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