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Lalo Schifrin


Teasing the Korean

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I like the score for "Bullit" -- of its era, the jazz-rock-Mod vibe, and of a piece with, say Don Ellis' "French Connection" score 

 

And "Gillespiana" written for Dizzy... 

 

Also, the Detroit Symphony will be playing his de facto violin concerto,"Tangos Concertantes," next season. I don't know anything about it but am looking forward to hearing it. 

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GREAT composer for the purposes to which he devoted himself; compare to x # (x = many) later 'jazz' composers / performers who have tried to flaunt polystylism / collage / disjunction etc... some (a few) are excellent, most aren't. And of course Lalo like any jobbing pro has some lesser inspirations also but he heightened &/or complemented greatness so often...

pay close attention to Godfrey Cambridge here--

Don Siegel Don Siegel Don Siegel

w/o Don Siegel, Magnum Force suffered & while still enjoyable, the workman-like direction is nowhere near the level of the score

 

Edited by MomsMobley
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  • 3 months later...
  • 2 years later...

I was always hoping that his rejected Exorcist score would be worthy of the music needed to summon Pazuzu, but from what I've heard of it, maybe Friedkin was right in using various music by contemporary classical composers instead.

I remember reading Friedkin hated Schifrin's score so much, he threw the reel of tape it was recorded on out into the street!

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On 9/9/2018 at 2:11 PM, Brad said:

Here’s an article that appeared in Jazz Profiles a couple of months ago about Gillespiana. 

Gillespiana

Gillespiana/Carnegie Hall Concert was the first jazz album I ever bought, so Schifrin holds a special place in my heart.  I recommend Lalo Schifrin & Friends, a 2007 album with James Moody, James Morrison, Dennis Budimir, Brian Bromberg and Alex Acuna.

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  • 3 years later...

There is one internet radio gadget things that plays Lalo Schifrin in their classical sub-station, Accu-Radio, I believe it is. It appears he has created work for consideration in that area. To me, it still sounds like fleshy film scores, which is not a bad thing, just odd to hear on a :"classical station".

Then again, Bernard Herrmann get played on the local classical station once in a while.

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11 minutes ago, JSngry said:

There is one internet radio gadget things that plays Lalo Schifrin in their classical sub-station, Accu-Radio, I believe it is. It appears he has created work for consideration in that area. To me, it still sounds like fleshy film scores, which is not a bad thing, just odd to hear on a :"classical station".

Then again, Bernard Herrmann get played on the local classical station once in a while.

Lalo Schifrin was an accomplished composer, and I think he may have gotten pigeonholed into doing 70s "urban" scores, given the success of Bullitt and the Dirty Harry franchise.  Star Wars is credited with - or blamed for - bringing back the traditional symphonic approach to film scoring, but I don't think Lalo reaped many of those benefits.  He has recorded prolifically for his own Aleph label for the past 25-or-so years, and some of these albums are more symphonic than jazzy.

 

25 minutes ago, ghost of miles said:

A happy 90th birthday today to Lalo Schifrin. Here’s a Night Lights show devoted to his early years:

 

Jazz Mission Possible

Happy Birthday Lalo!

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  • 1 year later...
On 9/10/2018 at 1:07 AM, Michael Weiss said:

I just recently contacted Lalo's assistant to find out who were the drummer and bassist on Dirty Harry but he didn't remember.

Ray Brown (bass); Max Bennett (electric bass); Larry Bunker (drums); Emil Richards, John Guerin, Ken Watson, Joe Porcaro (percussion).

The Library of Congress lists Carol Kaye as playing electric bass in addition to Max Bennett.

https://www.loc.gov/item/jots.200014958/?fbclid=IwAR3VmI1SHxD1eYKF83Hnb1BBc8iBTQ22zjskcXXi9Ws5o-CqJ9nLaMJ0lA4

From Doug Payne's excellent website:

DIRTY HARRY
Lalo Schifrin
Burbank, California: October 4, 1971
Gary Barone (tp); Craig Kupka (tb); Vincent De Rosa (frhrn); Tom Scott, Tony Ortega, Plas Johnson, Jerome Richardson (woodwinds); Mike Lang, Ralph Grierson, Mike Melvoin (key); Howard Roberts, Dennis Budimer, Michael Deasey (g); Ray Brown (b); Max Bennett (el-b); Larry Bunker (d); Emil Richards, John Guerin, Ken Watson, Joe Porcaro (perc); Sally Stevens (vcl); Israel Baker, David Frisina, Dorothy Wade, Paul Shure, Bonnie Douglas, Alfred Lustgarten, Jerome Reisler, George Kast, Joseph Livoti, Alex Beller, Herman Clebanoff, Samuel Cytron (vln); Milton Thomas, Virginia Majewski, Joe Reilich, Philip Goldberg (viola); Raphael Kramer, Armand Kaproff, Emmet Sergeant, Kurt Reher (cello); Catherine Gotthoffer (harp); Bill Williams, Dan Franklin (copyist); Kurt Wolff (orchestra mgr); Lalo Schifrin (arr,cond).

 

Edited by Teasing the Korean
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2 minutes ago, Michael Weiss said:

That's got to be John Guerin on drums on the funk tracks.

Keep in mind that Doug Payne's listing is for one date only.  It is likely that Guerin played drums on tracks recorded on a different date, perhaps explaining Carol Kaye's absence on the Doug Payne site.

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1 hour ago, Teasing the Korean said:

Keep in mind that Doug Payne's listing is for one date only.  It is likely that Guerin played drums on tracks recorded on a different date, perhaps explaining Carol Kaye's absence on the Doug Payne site.

Nice to learn this after all these years! Ever since first watching this movie in the early 90s I was always astonished by the dry, close-miked recorded sound of the drums (for instance in the "roof scene") which sounded several years more modern than 1971.

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40 minutes ago, Daniel A said:

Nice to learn this after all these years! Ever since first watching this movie in the early 90s I was always astonished by the dry, close-miked recorded sound of the drums (for instance in the "roof scene") which sounded several years more modern than 1971.

Yep!  Without close miking, it doesn't sound like funk!

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