I, The Jury/Conti
October 30, 2013
I, The Jury was a film from the 80’s that I completely missed partly due to the fact that I’ve never been a Mickey Spillane fan, the author, and my experience with Armand Assante and Barbara Carrera was very limited. Even my experience with Bill Conti, the composer, consisted of albums of Rocky (1976) and The Formula (1980). This first time release of the score by La-La Land (LLLCD 1275) aroused my interest on the very first play. While there was nothing original the way that Conti composed there was a strong amount of originality in the way the patches formed the quilt. While many styles such as Schifrin, Hayes, Coleman, and other jazz appear in the soundtrack there isn’t one specific style that dominates. It wouldn’t be something you would hear at a Herbie Hancock jazz concert but there is an attraction to the overall material as it blends what a soundtrack should sound like with the world of improvisational jazz.
The Main Title features a frantic piano line that plays through the entire track that somewhat dominates creating a frenzy that the brass and saxophone seem to feed off of. The theme is repeated in the End Credits so it becomes the dominate melody of the soundtrack. As this is a soundtrack you’ll hear other styles that aren’t jazz improvisation but underscore material for the film. Just when you get settled in to the jazz style of music Conti throws in a Chopin Etude along with original material (Stairway to Surrogate) which is a variation of the main theme. The sudden statement from the sax toward the end of the track seems to bring the track back to the jazz base. This Chopin Etude is also featured in a bonus track Tribute to Mike Lang which begins with a small amount of conversation before the Etude begins. Velda’s Vamp puts you right back into the bluesy jazz style which exudes a bit of the Miles Davis style with the trumpet and then the sax soloing over the orchestra. A bit of Hancock piano briefly appears in Closet Cache and Kendrick’s Taxi Time, a series of dissonant chords. The jazz picks up again as an introduction to Michael’s Taxi Ride First with the orchestra offering a biting sound and then it shares with the string bass offering a solo. Concrete Chase Conclusion again shows off the talent of keyboard master Michael Lang with a series of calculated piano runs mixed in with bursts of energy from the brass. A hint of the tension Schifrin appears with lower register strings and selectively placed percussion to enhance what we see on the screen.
As with most of the newer re-releases today your treated to bonus tracks and there are 8 of them. Little information is given but it seems like all of the tracks are included. While the liner notes are up to the usual standards of La-La Land you might want to get out your dictionary like I did to look up certain words. You can look forward to a unique experience from Conti as he mixes traditional jazz with movie underscore material. Remember that this release is limited to 2000 units so at some point it will sell out. Recommended.
Track listing
Total Duration: 01:00:33 |
Symphony in F major/Rott
October 24, 2013
Tragedy is an understatement when it comes to the life of Hans Rott (1858-1884), an aspiring composer who suffered from hallucinations and died in a mental asylum of tuberculosis at the age of 25. He left us a small number of compositions, one of which was this symphony that I’m reviewing. It survived partly because of Gustav Mahler and the efforts of conductor Gehrad Samuel who premiered the work in 1989. While his performance was far from stellar (rumor has, it was a student orchestra) it was the first and the controversy began as to how much of the work contributed to Mahler’s 1st as the two of them were roommates in school. Bruckner also had an influence on his work and knew him well enough to attend his funeral. Brahms listened to the work and told Rott to give up music and find another occupation. This could have had something to do with his affiliation to the Wagner Society. 24 years later we now have several recordings to choose from, with the latest being this fine live recording from Acousence #ACO-CD 20104, performed by the Philharmonisches des Staatstheaters Mainz conducted by Catherine Ruckwardt.
The opening movement gives us the main melody from the trumpets a proud and majestic one which is taken up by the string section and finally comes to an uplifting conclusion. The second section of the first movement is tranquil with the main melody still making its presence felt as different sections of the orchestra participate in developing the theme. It concludes with a grand forte. The very slow “Sehr langsam” is quite the opposite of what we just heard. It is a yearning movement that has no definite melody but seems to keep the listeners interest with the brass chords which hint at the main melody but don’t quite play it.
The third movement is one that definitely influenced Mahler. “Frisch und lebhaft” begins with brass fanfare which offers a new melody which is taken up by the strings in a brisk tempo. As the music slows to a halt we hear the low growl from the contrabassoon a new melody emerges from a gypsy violin consequently taken up by the brass with proud chords. As suddenly as it appeared it is taken over by taut warlike chords once again from the brass. We hear yet another reference to the main melody. The final movement “Sehr langsam-belebt” slowly emerges with sounds like footsteps to a return to light from the darkness. There are disturbing noises from the contrabassoon. The development is slow but positive as we begin to hear an offering from the oboe and then from the flutes with brass harmony. There is a section in the movement that was definitely influenced by Beethoven’s 9th symphony. My only comment is what a work to model yours after. The finale of the 4th movement is a return to the proud majestic theme that we heard at the beginning.
It wasn’t until Acousence released this recording that my interest peaked to a point where I can tell you this should be part of your collection. There has been much discussion which has no relevance to the work at all. Almost every composer has been influenced by someone before him. While I admit there is somewhat of a patchwork feeling to the symphony it has little influence on the overall listening experience. The conductor Catherine Ruckwardt has taken a work to new levels of excitement and it should be one that will be given repeated listens. The orchestra flows under her baton from the grumbly contrabassoon to the harmonic fanfares of the brass section. They sounded well rehearsed. The recording, which was from a live performance, captured the sound of the orchestra nicely as well as the ambience of the hall making this a winner. Highly recommended
Track Listing:
1… Alla breve (9:19)
2… Sehr langsam (10:56)
3… Frisch und lebhaft (12:48)
4… Sehr langsam-belebt
Total Time 56:14