내 Original Soundtrack

The central irony in director Dan Pritzker’s film about Buddy Bolden, the first jazz musician to become known for his individual sound, is that no recordings of Bolden are known to exist. (He was active at the end of the 19th century and the beginning of the 20th, and he died in 1931.) But if the soundtrack to Bolden begins as speculation, that’s not the same as groping in the dark: We know about aspects of the cornetist’s eclectic repertoire and how he transformed it, in an ensemble style which can be gleaned from the sole existing photograph of Bolden, standing amid his band with trombone, two clarinets (in B-flat and C), upright bass, and guitar.

A celestial journey is what Sun Ra and His Arkestra created with Space is the Place. Sun Ra’s opus, at its simplest, is a trip through outer-bound melodies, planetary bodies, eras in time, crystals, and space caravans. You will be transported a world away!

The soundtrack to the 2018 Queen biopic Bohemian Rhapsody offers a fittingly cinematic portrait of the iconic rock band, built around a handful of the group's most well-known songs, including live versions and several tracks reworked specifically for the film. As a souvenir of the movie, the soundtrack works especially well. Opening with guitarist Brian May's arrangement of the "20th Century Fox Fanfare," and showcasing his distinctive searing guitar leads, it perfectly sets the tone for telling Queen and Freddie Mercury's story on the big screen. Here we get such beloved classics as "Somebody to Love," "Killer Queen," "Another One Bites the Dust," and "Under Pressure."

This soundtrack to the movie features an astonishing array of blues artists from three generations. Recorded during one long night at NYC's Radio City Music Hall on Feb. 7, 2003, the electricity is in the air and on stage. While it may not have been the finest blues show in history, the collection of founding fathers such as David "Honeyboy" Edwards, Buddy Guy, Clarence "Gatemouth" Brown, Larry Johnson, Hubert Sumlin, Solomon Burke, and the ubiquitous B.B. King along with their spiritual offspring (Gregg Allman, John Fogerty, and Steven Tyler) and some usual suspects like Bonnie Raitt, Robert Cray, and Keb' Mo', makes it arguably the most significant blues session ever captured on film. Beginning acoustic, the double disc builds momentum and volume as we hear the blues mutate to electric and finally hip-hop with Chuck D. exploding on a rap version of John Lee Hooker's "Boom Boom".