Teasing the Korean

Did you know "The Cat" comes from an early Schifrin score to the French film Les Felins, with Alain Delon and Jane Fonda? Check this out! You can't go wrong with three of his classics: Bullitt, Enter the Dragon, and Dirty Harry. If you spring for Bullitt, I would get the FSM release, which includes both the film and album versions. For Dirty Harry, I would go with the first film, available from Schifrin's label Aleph. There is also a Dirty Harry Anthology that you may be able to find inexpensively. Cool Hand Luke is very highly regarded, but while I like it in the context of the film, it is not one that I reach for. The Hellstrom Chronicles is another I love. It is fairly all-over-the-map stylistically that delirious early-70s way, ranging from atonal symphonic, to jazz, to Bossa, and everything else. There are others that are excellent but were released only in limited edition formats. These include The President's Analyst and The Liquidator. Finally, his TV "soundtracks" for Mission: Impossible and Mannix are excellent, but these are really more tie-ins than actual soundtracks.

In honor of Lalo Schifrin's 90th birthday: Enter the Dragon Mannix Mission: Impossible Mo' Mission Impossible

Numbers don't have biases with regard to how they are applied.

In honor of Lalo Schifrin's 90th birthday: Rendez-vous dansant a Copacabana - Vogue (mono)

For Lalo Schifrin's 90th: Gone with the Wave - Colpix (mono) Insensatez - Verve (stereo) Bossa Nova - Audio Fidelity (stereo)

Lalo Schifrin turns 90 today. Of course, nonagenarians begin at 91.

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. Happy Birthday Lalo!

1. Alain Delon is an artist. 2. Many of his film scores contain jazz or jazz elements, including Les Felins and Once a Thief, both by Lalo Schifrin; and Le Cercle Rouge by Eric Demarsan. 3. Jimmy Smith had a man-crush on Alain Delon, as everyone who owns the Verve LP The Cat can attest.

Bossa Jazz Brazil Bossa Beat - Bossa Nova and the Story of Elenco Records Bossa Nova and the Rise of Brazilian Music in the 1960s Three excellent comps on the Soul Jazz label.

"I would like to thank all those who have accompanied me over the years and have given me great support, I hope that future actors can find in me an example not only in the workplace, but in everyday life, between victories and defeats. Thank you, Alain Delon," https://www.marca.com/en/lifestyle/movies/2022/04/01/6246787c46163f56258b4582.html?fbclid=IwAR1XJwN8UX2gkmSpt5D18OvQUQT5hrlba1VGV0mutt7w1GHsLeAXobGvq5E

The criticisms that I read were about the use the of the music, not about the music itself. I probably have more film scores than I do jazz albums (though many of the film scores I own contain jazz or jazzy elements to varying degrees). I agree with you that film music away from the film should be assessed on its own terms rather than as the film score. There are excellent film scores that do not work for me as isolated listening experiences. (Carter Burwell's scores for Cohen Brothers films and Michael Nyman scores for Peter Greenaway films come to mind.) And there are scores that didn't work so well in the respective films, but that work as albums. (Ellington's Anatomy of a Murder and Leonard Bernstein's On the Waterfront being two examples.)

Village of the Pharaohs - Pharaoh Sanders (ABC iImpulse!)

Here is a preview, courtesy of the InterTubes.

Gotcha. Thanks!

I couldn't remember if I posted it here or saw it here.

Did you know that Johnny Pate contributed to the Superfly soundtrack? He even wrote a letter to Downbeat about this, which I posted in another thread. I'll see if I can find it.

Available for pre-order on LP, CD, or download, an improved It’s the Great Pumpkin, Charlie Brown is being released in August. Unlike the previous version, this comes from the session tapes. It will be free of the sound effects, edits, and abrupt fades and volume fluctuations heard in the other version. It will also include some alternate takes. https://craftrecordings.com/collections/its-the-great-pumpkin-charlie-brown-original-soundtrack-recording

This bad boy just arrived. So far, "Auto Chase" is the money cut.

Yes, of course. I was referring to the mono mix for the film, which I believe is what the OP was referring to also.

Well I will defer to your expertise. I knew that 1980s blockbusters may have had stereo scores, but not every film. And there must have been films with stereo audio (dialog, effects, etc.) but mono scores, correct?

It has at least as much to do with distribution as it does taste. For example, you can't find Korla Pandit LPs on the East Coast. On the West Coast, they are everywhere.

We've all been there.

Mono would have been standard for the mix of a film score in 1984. Who knows whether the multi-tracks still exist. Also, one of the main criticisms of the film is Brubeck's music. I've never seen it.

I of all people understand this.

Aging white male minimizes the cultural contributions of non-European cultures. And on a jazz forum, no less...