Not too long after his release of the CD release https://sdtom.wordpress.com/2015/01/25/come-and-shine-1977patrick-williams/ Patrick took on the task of doing the music for “Breaking Away” or so he thought. Bruce at Kritzerland over the years seems to come up with alternate scores and this is the case with this particular score where the temp music became the soundtrack, which was also arranged and orchestrated by Williams, but the music that Patrick wrote for the film is also included so you get to be the judge on which one you prefer. The score was nominated for an Oscar in the best adaption category losing to “All That Jazz.” Steve Tesich won the Oscar for his screenplay and the film was also nominated for best picture, director (Peter Yates) and supporting actress (Barbara Barrie). The film was very successful at the box office and to this day is still popular with a strong following. One of my favorite films of Peter Yates was “Bullitt,” a film completely the opposite of this one. It is a feel good story of four boys growing up and deciding what they want to do with their lives. One who is obsessed with an Italian racing team wants to compete in the “Little 500 Bicycle” race. Of course there is a female and two males vying for her attention.
Let us breakdown the score into two parts The first part is the material that was used in the film (arranged by Williams) which consists of Rossini, Mendelssohn, and von Flowtow with the exception of four cues “Back in the Race,” “Fixing it Up,” “The La-La Song,” and “Loosen it Up.” The second part are cues that Patrick Williams wrote but remain unused in the film numbering fourteen. The audio track I chose for you to listen to “Loosen It Up” could very easily have come from the “Come and Shine” album as the chorus sounds identical to the New York session (check out the shine track in the previous review I did of Patrick Williams). Many of the cues written by Patrick, such as”Full of Love,” “Truck Driver Race,” and “Goodbye Katherina” are classical in nature. Others such as “Souled on You” and “The La-La Song” relive the rock and roll era of the time. All of this shows the extreme versatility of Williams who seems to be comfortable in any genre which this soundtrack shows.
This is a limited edition of 1000 units, many times the case with Kritzerland releases so it is best to act sooner than later. The sound is good and the liner note duties are shared by Bruce and Julie Kirgo. Total time for the CD is 63:40.
Figaro – Largo Al Factotum (1:00)
The Box Trick (original unused cue) * (:46)
The Paper Chase / Marta Marta (2:47)
Una Furtiva Lagrima (1:48)
Truck Race (4:59)
Like A Dream (:47)
Molte Grazia Katherina (original unused cue) * (:51)
After the Serenade ** (1:16)
Loosen it Up * (2:54)
Coming Back (original unused cue) * (1:41)
The La-La Song * (2:55)
The Swim (original unused cue) * (2:32)
I Have to Train (1:48)
Italian Race (2:51)
The Truth Hurts ** (1:48)
Heart to Heart (original unused cue) * (1:47)
Fixing it Up * (1:28)
The Race (original unused cue) * (1:18)
Back in the Race * (1:59)
End Credits (1:48) Additional Unused Original Score Cues
Katherina / Full of Love * (3:00)
Truck Driver Race * (4:36)
Souled on You * (2:11)
Trying So Hard to Love You * (2:19)
Training * (1:02)
The Italian Race * (5:22)
Goodbye Katherina * (2:35)
End Credits (alternate) * (3:20)
Music Adapted by Patrick Williams
Conducted by Lionel Newman
* composed by Patrick Williams
** contains music composed by Patrick Williams
My collection of Patrick Williams material began in the late 60’s when I purchased the soundtrack “How Sweet It Is,” “Shades of Today,” and “Think” both on the Verve label. I’ve collected and enjoyed his material, mostly LP, so this release on CD was a pleasant surprise for me. It is part of a 25 CD release which also includes Count Basie and Lionel Hampton both of which I also have. I also look forward to exploring additional titles from George Shearing, Joe Pass, and Stephane Grapelli among others.
The first track, the unofficial main theme, “Come On And Shine” features the New York Section with a strong presence from the brass, some good keyboard work from Dave Grusin, who went on to compose some great material of his own, effective use of a vocal group in the background, and solo sax work from Lou Marini. The group has a good feel for the funky track and you hear it loud and clear. It made me want to crank up the amp and listen loud through my Interaudio speakers. The chorus said little other than shine but their whispers in parts were quite effective with the sax of Marini. I’m including it as an audio clip which will give you a good feel as to what this album about. As you listen to the arrangement you’ll hear the instruments enter one by one: guitar, snare drum, keyboards, trumpets, and vocal section. “One For My Three” follows in a similiar vein with the saxes of Niewood, Marini, and Cuber taking center stage with able backing from Grusin. “Lou Grant Theme” will bring back memories and is dominated by Jerome Richardson on Alto Sax. “And We Will Love Again,” a perfect love song offers Kahn on Guitar, Grusin on piano, and Toots Thielemans on Harmonica. This offering also has strings to give it a lushness and even more romance. “Sail On” spotlights the talent of Steve Kahn with able backing from Dave Grusin. The Bob Newhart Theme, “Home to Emily” is one of the more popular television themes with Sunny Burke of the Los Angeles section being featured on the Fender Rhodes. “Barrio” showcases the talents of Pete Christlieb on Tenor Sax reminding me of the sax work on “Taxi Driver,” a Bernard Herrmann soundtrack. A wonderful lush arrangement and melody from Patrick. The talent of the Latin percussion of Larry Bunker is an added bonus. “The Late Night Wizzard” again features the talent of Toots this time in a funky style that will sure to please your audio canals. The final selection “Blue Light” again returns to Los Angeles and some nifty sax work again from Pete Christlieb.
We’re so fortunate to have the talents of two Oscar winning/nomination talents of Dave Grusin and Patrick Williams. Be sure that you take the time to check this one out. I’ve enjoyed this recording for nearly 40 years and I’m sure you will too. The remastering is superb although I do kind of miss the surface noise of the LP. Come to think of it I might just dig it out again!
1…. Come On and Shine (6:20)
2…. One For My Three (2:12)
3…. Lou Grant Theme (2:12)
4…. And We Will Love Again (5:10)
5…. Sail On (5:38)
6…. Home To Emily (5:52)
7…. Barrio (5:49)
8…. The Late Night Wizzard (6:10)
9…. Blue Light (2:58)
Tracks 1, 2, 4, 5, and 8 recorded in New York. Tracks 3, 6, 7, and 9 recorded in Los Angeles.
This expanded release from Intrada is a re-release from 1995 with a lot of new material from the multi-track masters giving it better sound than their previous release which came from the 1/4″ master given to the composer and the previous source used by Southern Cross and Intrada. Although digital recordings have improved (check out SACD) the sound is still pretty good quality. The release of this soundtrack coincided with the release of the blu ray.
The plot of the story involves a teenager Alex Rogan (Lance Guest) who as a result of defeating an arcade game starfighter is visited by another galaxy Centauri (Robert “Music Man” Preston) to fight for real. The Nick Castle film also featured Barbara Bosson and Dan O’Herlihy. The Lorimar production was one of the first films to use computer graphics and had some success at the box office.
“Main Title,” the opening track, has the sound of a Star Wars movie but Safan approached his theme differently as explained in the liner notes written by Jon Takis. Talking about the main theme Safan said “What’s nice is it could be used for heroic moments and then could also be used for romantic moments.” While John Williams used the classical piece The Planets by Gustav Holst as an inspiration Safan turned to the Finnish composer Sibelius. It begins with a loud fanfare from the brass section featuring the trombones with synthesizer harmony all an introduction to the strings of a 100 piece orchestra bringing us the melody. At the end of the track we hear the main theme again this time the softer romantic version. Both styles are featured and are the centerpiece for the soundtrack. “Record Breaker” begins with romantic theme but quickly changes gears and we’re given a nice trombone motif with the sliding effect. A danger sounding motif is a prelude to the EWI (Electronic Wind Instrument) which is the motif for Centauri. Safan calls it a snake charmer sound and the cue is also intertwined with more synthesizer coming across like a quack quack of ducks. This soundtrack, which was the case at the time had no dubbing tracks. The synthesizer played right along with the orchestra. Also included in the track are more brass fanfares and a variation of the romantic theme at the end of the track. Since this is my favorite track I’m including it as an audio clip. Pay close attention and listen to a few bars about three minutes into the track. It reminds me of Star Wars. “Krill,” a character in the film played by Dan Mason offers much in the way of classical influence with nods to Stravinsky and the irregular rhythm (noteworthy percussion) and a definite nod to Holst and his work The Planets. It begins in a very low register dark and mysterious with notes from a contrabassoon. This is the premiere offering of this track and my second favorite on the soundtrack. “Into the Starscape” the finale and end credits is of course filled with the centerpiece of the score, the main title, in both romantic and heroic version. If you wanted a track to go into one of your compilations this would be the track that you would choose as you get a full treatment of brass and the entire symhony orchestra.
A nice release and one that has no limited editions placed on it. This is a nice addition to your science fiction/fantasy collection.
As a sequel to https://sdtom.wordpress.com/2012/06/15/jerry-goldsmith-collection-rarities-vol-1compilation/ without Dominik Hauser but with the addition of Dan Redfeld to the talents of Northam and Park, the trio individually performs 21 songs of a man who like Gershwin was never without creating a new melody, Jerry Goldsmith. In a 40 year span from 1960-1990 he was the dominant force of Hollywood soundtracks producing 71 scores in the 70’s alone. This compilation spans a 30 year period from 1963-1993 offering something from all of the different genres Goldsmith wrote for.
The three soloists chosen for this BSX project are as diversified as the subject material and multiple listens to this CD will reveal the style of each pianist. A good example of this is the main theme to “100 Rifles” which is treated in the style of an etude de concert. Joolyun Park is delicate and forceful with an arrangement of some degree of difficulty. You wouldn’t know that this melody came from a western! The arrangement that Northam chose for the theme Free As The Wind from Papillon again hardly sounds like it belongs in a film only lacks a tinkling of glasses in the background to make it complete. The love theme from “Coma” rather than approached with softer touches is approached by Redfeld with strong powerful strokes in parts. Free as the Wind from “Papillon” is arranged in such a fashion that you’ll scarcely recognize the theme from the complex arrangement created by Northam without overdubbing. A well done quite classical interpretation. “The Sand Pebbles,” one of my favorite love themes from Goldsmith is created in a simple rather laid back fashion again by Northam. Who wouldn’t like “Rudy” treated in grand fashion by Redfeld who uses chords to make his point that this is a must have for Goldsmith fans and people who just like nice easy to listen to music. Even the “Walton’s Theme” which I associated with a sappy corny television series seems to flow rather easily in my audio canals.
While I can’t classify this as a soundtrack recording I can say that this is one a soundtrack listener will enjoy. It is a different way to listen to some of the themes that Goldsmith created. If you’re with a non soundtrack listener you can be the star by being able to tell what movie these were written for as well as having nice background music. Who knows that the theme might not inspire someone to purchase the entire soundtrack. The sound quality produced a nice smooth listening experience for me through my Intersound speakers.
Moviescore Media is a Swedish based company that gives the new composer a chance to have his material heard and this is the case with Philippe Jakko and his score to the independent film “Allies.” With the exception of a couple of drum samples this is performed by musicians on real instruments. As Jakko put it to me “there s no comparison between real and fake orchestra: 50 musicians brings always more emotion than a computer…!” I’m including a link to Moviescorehttp://www.moviescoremedia.com as well as the composer’s website http://www.jakko.fr so that you can listen to the clips and if it suits your fancy place an order. The overall feeling that one gets from this soundtrack is one of darkness. His use of the celli and double bass and slow funeral style music with minor chords will not leave you with a joyous feeling. War isn’t a happy time and the lower bowels of the orchestra certainly reflect that. Having just said that there are some uplifting moments of hope throughout the score.
The Dominic Burns film takes place in 1944 and tells the story of an American captain with British soldiers who were dropped behind enemy lines in France with a plan that could hasten the end of the war. The first cue “Opening,” the main title, features the lower register in a staccato fashion which permeates the track. There is a sense of urgency that dominates the entire track. Horns along with a thumping percussion (window rattling) make this track rather complex in nature. I like the added touch of a single bell that signals the conclusion of the track. Proud and heroic are the best words to use to describe what you hear in “Brothers,” the second track. A feeling of heroism is depicted with the simple melody, the calling out of the horns and the use of a wordless choir. “Dakota Flight” my favorite track begins with a long extended note, a pause and then a six note motif from the piano and a repetitive two note sound from a piano. This same six note motif is also repeated in “The Village.” Also used in the orchestration is an instrument called a Cristal Baschet, named after the inventor. The only other composer who uses the Cristal Baschet as an instrument is Cliff Martinez. It sounds like it could be a synthesizer but it isn’t. “Harry and Catherine” does offer the use of this as a ray of hope. The uplifting track also using rising strings reaching a major chord. As the composer explained to me it was a skeleton he used in the score that also appears in the tracks “Partisans” and “Billys Death.” The Cristal Baschet provides mystery and then emotion. As you can hear this isn’t just a bunch of notes but a well thought out composition.
Overall I like the score as it reminds me of some Russian composers who wrote for the lower register of the orchestra. The sound is fine from a digital download but lacks some of the subtle nuances of a CD or Flac file. At $9.98 retail it is also considerably less than others. I hope to hear more from this composer.
1 Opening 3:41
2 Brothers 2:21
3 Harry’s Moment 3:44
4 Troops in the Fields 2:34
5 Partisans 5:20
6 Forest Battle 4:03
7 Dakota Flight 2:21
8 German Camp 2:54
9 Brothers’ Car Ride 1:49
10 In the Hut 1:43
11 The Village 3:26
12 The Ambush 1:43
13 Billy’s Moment 3:36
14 Harry and Catherine 4:37
15 Traitor + Hero 4:13
Ernst Rudorff (1840-1916) composed his third symphony late in his life in 1910 when writing a traditional classic symphony was no longer the norm as Strauss, Debussy, Ravel, and Stravinsky among others were the center of attention as Rudorff, who was once the center of music in Berlin, was now an isolated figure in obscurity. The third symphony was to be his last orchestral work as the remaining works were vocal and piano pieces. The catalog for material of Rudorff is small and this CPO release is a welcome addition. Hopefully they might decide to release his first two symphonies. As one fellow reviewer put it “you can expect the unexpected from Ernst…” as this work points out. Although I’ve spent nearly sixty years listening to classical music this is my first experience with this composer. This CD seems to be the only available recording although there is a recording of his second symphony available on the internet at https://www.youtube.com/watch?v=OUrsh3C5LHE.
The first movement, an Allegro con brio, and longest of the four immediately begins with a powerful melody bold and positive in its statement. It quickly builds to a conclusion of fff with the entire orchestra, horns prominent to a conclusion which quietly segues into a softer passage with woodwinds taking the center stage. The entire orchestration is repeated with small variations. It continues in the same pattern until a rousing conclusion.You’ll leave the movement with the feeling of listening to a very traditional work that could have been composed by Brahms. The second movement is a bit of a puzzle. It is titled In modo di marcia funebre and in reality is far from a funeral march at all. It is gloomy, reminding me of the Rachmaninoff piece “The Rock,” but the woodwinds and rising strings in parts seem to break up the overall feeling of the movement. As Alan said expect the unexpected. The third movement, which is included as an audio clip, lives up to its title Un poco. (quasi Andantino) with the exception of one passage where the Andantino actually meant a little quicker. Overall it is a nice free moving uplifting movement a marked change from the first two movements. The final movement Allegro Giocosa begins with a loud bang waking you up to the tranqulity of the previous movement. The theme is impressive and well developed in a scant seven minutes. The total time of the symphony is under 35 minutes.
Written over 10 years earlier Rudorff’s “Variations,” op. 24 came about as a result of his fondness for Brahms variations of a theme from Haydn. This also new to me is a little gem of a work with a sprightly theme with 19 additional variations. It was written over a period of a year in 1874 to 1875 and was well received by the music society of Berlin including Brahms and his former teacher Carl Reinecke. While I’m not as impressed with it as the Brahms piece I’ve given it more than a listen for this review and will return to it on occasion.
Since I’ve no other recordings to compare this to it stands at the head of the class. I found the recording to be slightly hazed. It lacked the crystal clarity of other recordings. The bass produced a slight rattling in the windows to the point where I had to take it off of my flat readings and adjust the bass slightly. Listening to it on headphones was a pleasant experience. If you’ve amassed a collection of material I’d certainly add this to your collection.
This is just one of many in a series of re-visits of previous material from Linn Records with a sub-label of Echo. In the case of this reviewer it’s all a new experience to me and I’m glad one of my clients Naxos is distributing their material. While I’m enjoying the release immensely that was not my feeling on the very first listen. I tell you this so you’ll not write it off as background/elevator music. I almost did this myself which would have meant this review would have never come to pass. Upon further listening I found this to be unique and special such as acoustic only guitars and the lack of a piano and percussion.
The ensemble consists of Martin Taylor acoustic guitar, John Goldie acoustic rhythm guitar, Alec Dankworth acoustic bass guitar and cabasa, Jack Emblow accordion, Dave O’Higgins tenor and soprano sax, and James Taylor snare drum. The sound from the acoustic material is superb, better than electric in my opinion, at at least for this recording. The feeling that it transmits is intimate yet still projecting the jazz feeling of Django.
The opening track, “Chez Fernand,” a Reinhardt composition, which I’ve included as an audio track, gives a good idea of the sound and the style as it includes the accordion and the sax both offering solos as well as the guitar section of the sextet. A long time favorite of mine is the 1932 number for Gay Divorce by Cole Porter. It is given the complete treatment (nearly 7 minutes) with the sax work of O’Higgins being featured. “Nuages” takes me back to the days of Antonio Carlos Jobim and his Latin style in a track that features Martin Taylor with John Goldie making his presence felt with some fine rhythm guitar always present in the background. Django Reinhardt, composer would have been proud with the treatment his unofficial theme song was given. “Lady Be Good,” a 1924 song from Gershwin, features the fine accordion of Emblow and Taylor’s guitar lead. “Honeysuckle Rose,” a Fats Waller tune, begins in a soft romantic vein, music you might relate to in an intimate dining experience but three minutes into the track the gears shift and there is a fine tenor sax solo from O’Higgins that make you think of Coltrane. There are also two additional Django numbers “Swing 42” and “Minor Swing” as well as an original Martin track “Django Dream,” one not to be missed.
I look forward to exploring more of Taylor as well as Ray Gelato Giants, Barb Jungr, Carol Kidd, and Claire Martin, additional Linn recording artists. The mastering was a nice well balanced recording with good highs and lows that made my Intersound speakers sound even better. There was no need on my part to change any of my settings on my amplifier. I typically listen flat with no added treble or bass and this CD fit right in. Please take the time to visit their website http://www.linnrecords.com and look at their complete catalog as well as the different downloads available to you.
To promote this recording I’m offering the opportunity to win a free CD of this new release but you must first answer a question. Which jazz violinist has Martin Taylor collaborated with on several occasions? Send your answer along with name and mailing address to firstname.lastname@example.org The contest will run until the end of the month. All correct answers will be chosen using a random number generator.
While I have no complaints with the music as you’ve just read I feel there was an omission in not listing the composers of each track. This shouldn’t influence your purchase in anyway but perhaps future releases will include this information.