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FOR IMMEDIATE RELEASE LEGENDARY COMPOSER, CONDUCTOR, AND PERFORMER LALO SCHIFRIN CELEBRATES HIS LIFE WITH AUTOBIOGRAPHY Mission Impossible: My Life in Music Reflects On Life’s Work in Classical, Jazz, and Film (August 19, 2008- Los Angeles, CA) – Scarecrow Press will release the autobiography of six-time Academy Award® nominated composer Lalo Schifrin this summer. Mission Impossible: My Life in Music, edited by Richard Palmer, is a journey from Schifrin's formative years in Argentina to the classical and jazz atmospheres in Paris in the 1950s; from his jazz career with Dizzy Gillespie to his development as a film composer. Organized in eight parts, the book reflects on Schifrin's cosmopolitan experience providing impressions and vignettes of the extraordinary people with whom he worked. His music bridges three styles—jazz, classical, and film/TV—his autobiography offers insights on all three genres, as well as politics, literature, and travel. It includes over 30 photos, appendixes listing Schifrin's works, a discography, and an audio CD featuring some of Schifrin's greatest compositions. As a young man in his native Argentina, Lalo Schifrin received classical training in music and studied law. He came from a musical family, and his father was the concertmaster of the Philharmonic Orchestra of Buenos Aires at the Teatro Colon. After his studies at the Paris Conservatory, Schifrin returned to Argentina and formed his own big concert band. Dizzy Gillespie heard Schifrin perform and asked him to become his pianist, arranger, and composer. In 1958, Schifrin moved to the United States and began his remarkable career. Since then Schifrin’s career has taken him in many directions. As a jazz musician he performed and recorded with Dizzy Gillespie, Sarah Vaughan, Ella Fitzgerald, Stan Getz, Count Basie, Dee Dee Bridgewater, and George Benson. His classical activities include Zubin Mehta, The Three Tenors, Rostropovich, Barenboim, and others. His longtime involvement in both the jazz and symphonic worlds came together in 1993 as pianist and conductor for his on-going series of “Jazz Meets the Symphony” recordings, with the London Philharmonic Orchestra, and jazz stars like Ray Brown, Grady Tate, Jon Faddis, Paquito D’Rivera and James Morrison. Schifrin has written over 100 film and television scores including Mission Impossible, Mannix, Cool Hand Luke, Bullitt, The Cincinnati Kid, Amityville Horror, four of the Dirty Harry films, and more recently Abominable and the Rush Hour trilogy. To date, Lalo Schifrin has won four Grammys® (twenty-one nominations), one Cable ACE Award, and six Academy Award® nominations. ### For information contact cinemediapromo@yahoo.com

I am posting this press release with the permission. Thanks! Keith Jarrett "The Carnegie Hall Concert" Release date: September 26, 2006 (New York, NY) The Carnegie Hall Concert was Keith Jarrett’s first North American solo concert in a decade and perhaps one of the most wide-ranging of all his performances. The album almost amounts to an autobiographical portrait of the great improviser. Each of his two sets takes the form of a suite of songs, some intensely lyrical, others angular, turbulent, or probing. And the encores - no less than five of them - touch upon the blues and boogie-woogie, upon standard material (“Time On My Hands”), and even offer a new perspective on “My Song”, written for the Scandinavian ‘Belonging’ quartet and first recorded by Jarrett in 1977. In the rare solo concerts Keith Jarrett has given following his return to the form in 1997, he has been readjusting his approach to solo improvisation. As he explained in an interview in DownBeat last year, he has granted himself the periodic freedom to stop ... and to grant each spontaneously-evolving musical idea no more than the space it requires. The long arcs of segued episodes that characterized earlier solo performances - including those released on albums including The Köln Concert, Sun Bear Concerts, Vienna Concert, La Scala and many others - have been banished, replaced now by an emphasis on smaller forms: “If I start to play and a minute-and-a-half later I feel a piece is over, I’ll stop. It’s the freedom to stop when stopping seems correct. I had got myself locked into a slightly too complicated situation where the rules I had made for myself had been governing me - instead of making simple rules that could take me somewhere new.” Radiance and the DVD Tokyo Solo, both recorded in 2002 documented the beginning of this process. On The Carnegie Hall Concert, recorded in September 2005 at America’s most prestigious venue, it is clear that Jarrett is enjoying his new liberties, as is his audience. The sold-out Isaac Stern Auditorium at Carnegie Hall, included - in addition to numerous passionately committed fans - many musicians and critics. No one was disappointed and the electrifying atmosphere is evidenced by the ecstatic applause. Wall Street Journal critic Larry Blumenfeld outlined the direction of the concert: “Mr Jarrett began with a piece that played like an overture: there were suggestions of a ballad colored by splashes of harmony but these gave way to a cat and mouse game of contrapuntal lines. From there, pieces grew shorter and formed a succession that revealed melodic cohesion as well as stark contrasts (...) Whatever musical references Mr Jarrett’s improvisations called up for listeners, nothing sounded automatic or at all derivative throughout the evening. Yet perhaps ironically, his brief pieces more often than not took the form of composed tunes – in many spots more memorably than most contemporary songs... Mr Jarrett has arrived at a newly satisfying solo approach – one that gives rise to songs that take shape and just as quickly disappear, and which may script a fresh chapter of his storied career.” There were many such comments. The New York Times hailed the concert as “a major event”. All About Jazz praised the “astonishing expertise” and “astonishing clarity” of Jarrett’s performance, while Jazz Times praised his “innate and unerring sense of craft”. Upcoming Keith Jarrett solo performances: October 31 Paris, France at Salle Pleyel ( newly re-opened) November 3rd, Paris, France at Salle Pleyel For further information, please contact cinemediapromo@yahoo.com