Aleph Records is proud to release Lalo Schifrin: My Life in Music, a four-CD boxed set of music from the legendary composer's career in film, jazz, and classical music. The set features music from three-dozen films, jazz and symphonic pieces composed by Schifrin, and unreleased music from films including Charley Varrick, The Beguiled, Joe Kidd, and Coogan's Bluff. Along with over five hours worth of music, a forty-eight page book is included with archival photos and notes.
Here's yet another composer-performer who abhors the idea of building walls and fences between musical cultures. He's been carrying on parallel activities in the jazz and classical worlds ever since he was a youth in his native Argentina. Schifrin has composed a series of suites putting such jazz greats as Ray Brown and Grady Tate together with the London Philharmonic in a mix of originals, arrangements of standards, and several 13-14 minute tributes to the giants of jazz.
Lalo Schifrin turned 75 on June 21, 2007. In anticipation of that milestone, he convened the recording session for this album a little less than three months earlier, on March 30, 2007, intending to return to his first love of acoustic jazz. The sextet making up the pianist/composer's friends here includes saxophonist James Moody, James Morrison on trumpet and trombone, guitarist Dennis Budimir, bass player Brian Bromberg, and Alex Acuña on drums and percussion. It's an accomplished lineup, and Schifrin wrote and arranged material to showcase the players, beginning with the standard "Besame Mucho," on which Morrison's trumpet takes the lion's share of space.
After establishing himself in the television world with the classic Mission: Impossible theme, Lalo Schifrin soon made himself equally famous in the world of film music with his work on the soundtrack of the Steve MacQueen cop thriller Bullitt. This classic soundtrack found Schifrin combining the skills he honed as an arranger for jazzmen like Count Basie with the gift he developed for writing tight, punchy themes on television soundtracks like The Man From U.N.C.L.E. and Mission: Impossible. The end result is an exciting score that deftly blends traditional orchestral film-scoring techniques with the rhythms and swings of classic jazz.
Flush with popular successes that spanned film (the Oscar nominated score for Cool Hand Luke Bullitt ) and TV (the Grammy-winning Mission: Impossible, Mannix) Argentine-born composer Lalo Schifrin infused director Don Siegel's original, epochal Dirty Harry with one of the 70's most riveting, consistently original jazz-fusion scores. It was also one that, until now, was only available in mono-mixed snippets on obscure compilations; this release marks the full-score's first, three-decade-overdue release (remixed in stereo for the first time and including alternate takes).
One of future legend Lalo Schifrin's first Hollywood film scores, now with crisp digital sound! The soundtrack to this taut gambling drama starring Steve McQueen begins with the title song sung by Ray Charles; this reissue has cues released on record for the first time and cues extended from the film versions. An exciting release for film-score collectors and Schifrin admirers!
In the late 1970s, horror films were in the middle of a comeback. 1968's Rosemary's Baby helped start it; 1973's The Exorcist confirmed it. 1976 saw The Omen, and then in 1979, we got a film version of the bestselling novel, The Amityville Horror. Scoring the film was Lalo Schifrin, who had previously been hired to work on The Exorcist before his score was rejected. (Rumor has it that he worked elements of his rejected score into The Amityville Horror, although they sound nothing alike.) Previously released on 8-track and LP, Schifrin's score never got a full CD release until now, on his own Aleph Records.
There is nothing else quite like Lalo's exquisite ability to create swirling malevolent chaos inside a madman's head, and the fraying, twining tendrils of sonic warpage are on full display here, flitting ghost-like through The Dead Pool's netherworld. There is action-fare aplenty, too, and Lalo is positively energized by having the freedom to lay an aural carpet beneath a number of gunplay-filled dramatics, resulting in a lean, stripped, economical 35 minutes or so of score in a 910minute movie.