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FILM MUSIC REVIEW - The Web Magazine
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CD Reviews - Compilations & Musicals
(September/October 2004)
All reviewed soundtracks are listed alphabetically and written by Roger Hall or Steven Kennedy.
Some of them are given the designation of "CD of Special Merit" for their outstanding contibution to film music production.
Also, there is usually one soundtrack that is singled out as "Editor's Choice - Best of the Month."
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A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002)
This expanded and updated guide was written by film music historian Roger Hall.
It has a wealth of information:
*A timeline of film music highlights from 1926 to 2001
*A chapter on suggestions for listening to film music
*A complete list of Academy Award film music from 1934 to 2000
*A complete list of the Sammy Movie Music Awards from 1988 to 2001
*Top100 Scores of the 20th Century
*Comments on Film Music (exclusive interviews with Aaron Copland and Virgil Thomson; quotes from Bernard Herrmann, David Raksin, Dimitri Tiomkin, and others)
*An extensive bibliography and discography.
Throughout the guide are many illustrations of composer autographs, including Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa, Max Steiner , Dimitri Tiomkin, and others. There are also songwriter autographs as well, such as Harold Arlen, Sammy Cahn, Ira Gershwin, Henry Mancini, Johnny Mercer, and Jay Livingston.
The title page of the guide has a rare score page from the end credits of E.T., boldly signed by John Williams.
This film music guide is a limited edition and will be numbered and signed by the author.
If you order by 15 February 2004 you'll also receive a Free CDR titled: "Listener's Guide to Film Music."
Commendations:
* A Guide to Film Music was mentioned in the March/April 2002 issue of Film Score Monthly.
*In a letter to the author of the film music guide, the distinguished film composer Elmer Bernstein has written the following: "I do feel your book is done in a most interesting way. It affords a quick overview of what has not become a very, very broad field. Congratulations!"
To order your limited edition copy of A Guide to Film Music now, while supply lasts, go to:
Music Titles from PineTree Press
Review Rundown::
All reviews are written by Roger Hall or Steven Kennedy.
The titles are chosen to cover a broad range of commercial, promotional and vintage soundtracks. No bootleg CDs are reviewed. Some CDs are designated for "Special Merit" and one is singled out for "Editor's Choice, Best of the Month"--chosen at any time during the month.
The comments and ratings are based on the whole CD package: recorded music, booklet notes and art design.
Ratings:
***** (Superlative - Highest Recommendation)
****1/2 (Outstanding - Highly Recommended)
**** (Exceptional - Especially Worthwhile)
***1/2 (Very Good - Better Than Average)
*** (Good - Okay)
**1/2 (Fair - Nothing Special)
** (Mediocre - Barely Passable)
* (Poor - Save Your Money)
Each month soundtracks are selected for Best of the Month and/or Recording of Special Merit. These soundtracks are chosen on the date of the review, and not necessarily at the end of the month, and are those felt worthy of exceptional merit.
Some selected soundtracks have these headings above them:
![[Image]](pict319.jpg){kind=small} Editor's Choice for Best of the Month |
![[Image]](pict327.jpg){kind=small} CD Release of Special
Merit |
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| CD Reviews - Compilations & Musicals (September/ October 2004) |
FAHRENHEIT 9/11 (Jeff Gibbs/ other songs and themes) - **
MOST FRIGHTENING MUSIC IN THE UNIVERSE - Bernard Herrmann, Elmer Bernstein, and various classical composers - **
NOW PLAYING: MOVIE THEMES FOR SOLO PIANO (Dave Grusin) - ****1/2
TOM SAWYER and HUCKLEBERRY FINN (Richard M Sherman and Robert B. Sherman) - ***
THE ULTIMATE HORROR MOVIE ALBUM - ***1/2
YO-YO MA PLAYS ENNIO MORRICONE - ***** [Editor's Choice for October]
FAHRENHEIT 9/11 (2004)
16 Tracks [Total Time = 60:53]
Score composed and performed by Jeff Gibbs. Also: "Cantus In Memory of Benjamin Britten" by Arvi Part, performed by the Estonian National Symphony Orchestra, Paavo Jarvi, conductor; and Theme from THE MAGNIFICENT SEVEN by Elmer Bernstein. Songs sung by The Go-Go's, Eric Burton, J.J. Cale, R.E.M., Bloodhound Gang, Joey Scarbury, Jethro Tull, Neil Young. Mastered by Dan Hersh and Dave Schultz.
Warner Bros./Rhino R2 78434
Rating: **
I was undecided if this soundtrack should be listed under "Soundtracks" or "Compilations." It seemed to be more of a compilation because of the many songs (8 out of 16 tracks). While I watched Michael Moore's FAHRENHEIT 9/11 in the movie theater I found myself not enjoying that much of the original cues composed by Jeff Gibbs. There just isn't that much of it and what I hear on this soundtrack proves that point, with only 6 out of 16 tracks devoted to his score.
The songs were obviously chosen to make their point in Moore's politically charged film, such as his ridicule of President George Bush and his many days at play, echoed in the song "Vacation" (1982), sung by The Go-Go's (track 2, 3:00). Another example is Barry Mann and Cynthia Weill's "We Gotta Get Out Of This Place" (1975) sung by Eric Burdon (track 5, 4:08). One of the best used songs is "Believe It Or Not" from GREATEST AMERICAN HERO, sung by Joey Scarbury (track 13, 3:14). Even the worst songs, like the really horrible "Fire Water Burn" performed by Bloodhound Gang (track 12, 4:53), fit with the film's message. But the best tracks are not the songs.
Probably the most effective track is Part's very moving classical piece, "Cantus In Memory of Benjamin Britten" (track 4, 6:41). This music is very well used in the film. Then there is the unforgettable theme from THE MAGNIFICENT SEVEN (track 10, 2:00), which sounds like it was recorded in some old warehouse. The sound is shrill and unpleasant. I recall this western theme was used very briefly in Moore's film. It hardly does justice to this great western theme by the late, great Elmer Bernstein.
That leaves the 6 tracks by Jeff Gibbs. I didn't find his synth score to be very original. It consists mostly of a lot of rhythmic motifs that are repeated and repeated, sort of like the music of Philip Glass, but without his skill. A few tracks have some interest, such as "Afghan Victory Dance" (track 11, 3:16), with its ethnic dance rhythms. Another one is "All They Ask" (track 15, 3:30) which has more of the Glass style of minimalism.
Overall, I'd say the music is a mixed bag of very good (Part) and so-so music (Gibbs), with the songs thrown in more for their impact than their appeal. The soundtrack itself adds up to a not very satisfying combination of score and songs.
I would only recommend this soundtrack CD for those who must have a musical souvenir of Michael Moore's brilliant film, which is highly recommended viewing.
--Roger Hall, 8 October 2004
THE MOST FRIGHTENING MUSIC IN THE UNIVERSE
2 CDs
Disc One [Total Time = 68:30]
Disc Two [Total Time = 68:04]
Denon CD COZ 17433
Rating: **
This 2 CD set is being reviewed in time for Halloween. Should you be interested in a compilation with such a ridiculous title? Who thinks them up? Is this compilation worth getting? That depends on several factors, some of them "frightening."
First, if you are in search of mostly classical pieces which have a reputation for scary subjects or themes, such as "March to the Scaffold" from Symphonie Fantastique by Berlioz, or "Night on Bald Mountain" by Mussorgsky, then you might be interested in this compilation. Others may not be so scary, such as Prokofiev's "The Motagues and the Capulets" from Romeo & Juliet, or the ferocious Third Movement from the Summer concerto from Vivaldi's Four Seasons.
Second, if you would also like some of the most famous film themes from sci-fi, fantasy or horror, then this compilation might please you. These include a Suite from PSYCHO (CD 1)--Herrmann's name is misspelled on the CD case and booklet. And there's also "The Sorcerer's Apprentice" by Dukas, made famous by Mickey Mouse in Disney's beautiful animated feature, FANTASIA (CD 2, track 11, 12:01). There are also two Elmer Bernstein suites on CD 2: THE GRIFTERS (track 7, 8:12) and GHOSTBUSTERS (track 12, 2:47). These are both taken from the excellent 1993 Denon CD: "Elmer Bernstein By Elmer Bernstein." And of course what compilation of this sort would be complete without the opening of "Also Sprach Zarathustra" by R. Strauss, now better known as "Theme from 2001: A SPACE ODYSSEY."
So, is this compilation worth buying, even at a reduced price? I wouldn't say so.
Actually, it seems more like another record label trying to cash in again on their back catalogue of music, none of which is identified on the CD case.
The Denon title reminds me of another CD with a similar title: "The Ultimate Horror Movie Album" --a much better selection [see review below].
I don't agree that most of these highly respected composers deserve to be classified as having the "most frightening music in the universe."
This CD compilation is a disappointment in title, art design and lack of any recording information.
I'd hold off buying this one.
--Roger Hall, 8 October 2004
NOW PLAYING: MOVIE THEMES FOR SOLO PIANO
15 Tracks [Total Time = 53:55]
Features music from: ON GOLDEN POND, THE HEART IS A LONELY HUNTER, THE MILAGRO BEANFIELD WARS, THE FIRM, HAVANA, TOOTSIE, MULHOLLAND FALLS, RANDOM HEARTS, HEAVEN CAN WAIT, and THE CHAMP.
Music composed, performed and produced by Dave Grusin. Recorded, edited, and mixed by Don Murray at Firehouse Recording Studios, Pasadena, CA. Mastered by Robert Vosgien at Capitol Mastering. Art Direction: Hollis King. Design: Rika Ichiki and Denise Koleda.
GRP B0001712-02
Rating: ****1/2
For a long time you could have told me I had been listening to Dave Grusin’s film and television work. Surely I heard it on syndicated episodes of THE WILD, WILD WEST and THE GHOST AND MRS. MUIR and later themes and music for MAUDE, BARETTA, GOOD TIMES, and ST. ELSEWHERE to pick a few. The one score I remember most was for the Neil Simon murder mystery parody, MURDER BY DEATH (1976) followed by ON GOLDEN POND (1981). Grusin though has an impressive and steady list of film scores some of them infamous in one way or another like his work on 1967’s THE GRADUATE and his involvement with HEAVEN CAN WAIT. But his work has garnered eight Oscar nominations (the last one for 1993’s THE FIRM), four Golden Globes, as well as numerous Grammy awards and nominations. Most may think of him as a consummate jazz artist. He has release many jazz albums among my personal favorites are his Ellington, Gershwin, and Mancini discs. There has also been an occasional solo effort such as this one revisiting his film work. It is wise to remember that Grusin is only a couple years younger than John Williams and comes from that same group of young composers who cut their teeth on television in the 1960s before moving on to film. Like Williams, Grusin was also a jazz artist carving out that career.
"Now Playing" is an impressive collection of pianism of any genre. But the musicianship of Grusin is more than just the sum of his playing. Each track shows off his compositional abilities as well. From ballads like "It Might be You" from TOOTSIE (1982) to the almost Granados-like suite taken from the superb score to THE MILAGRO BEANFIELD WAR (1988) and the more experimental Cowell-esque "Mud Island Chase" from THE FIRM (1993) this is an amazingly interesting collection of Grusin’s finest work.
Included in the mix are several selections from some of Grusin’s Oscar-nominated scores. Even in these pianistic transcriptions the flavor of the original score shines. With each track one immediately is interested in hearing more from the score and from the composer. Unlike other muzak-ish film music compilations, this one is a finer production. Though you will have to go the jazz section to find this disc, the musicianship is really closer to classical piano playing and technique. I was reminded several times of some of the American piano discs in my own collection featuring classical artists performing Joplin or material derived from popular sources. The music making is that good.
The general tendency of the selections is for more "easy on the ears" with the occasionally mildly experimental ideas peaking through. The one exception is the aforementioned chase music from THE FIRM. The performance of the theme from ON GOLDEN POND is exquisite and seems to be an expansion of the published sheet music for the piece. Music from Grusin’s last Hollywood film, RANDOM HEARTS (1999), also makes a brief appearance.
In keeping with many of his albums, there are brief program notes that provide a sentence or two about each piece. Film dates are also given. All-in-all an excellent disc and one of the best film music compilations of the year with the only criticism one can make is that the disc could have included more.
--Steven A. Kennedy, 26 October, 2004
TOM SAWYER and HUCKLEBERRY FINN
22 Tracks [Total Time = 56:50]
TOM SAWYER [11 Tracks, Total Time = 33:03]
HUCKLEBERRY FINN [11 Tracks, Total Time = 23:47]
Music and lyrics composed by Richard M. and Robert B. Sherman. Music for TOM SAWYER adapted and conducted by John Williams and featuring performances by Charley Pride, Johnny Whitaker, Warren Oates, Celeste Holme, et. al. Music for HUCKLEBERRY FINN arranged, conducted and produced by Fred Werner and featuring performances by Roberta Flack, Paul Winfield, Harvey Korman, Jeff East, Gary Merrill, et. al. TOM SAWYER edited by Ken Wannberg. CD Mastered by Erick Labson. Robert Townson, Executive Producer.
Varese Sarabande 302 066 601 2
Rating: ***
You can always tell a song from the pens of the Sherman Brothers. The songwriting team is responsible for some of the finest of the Disney musicals and for numerous songs. After Disney’s death, the two tried out some independent projects of which CHITTY CHITTY BANG BANG (1968) was probably the first bona fide hit, though I am fond of their 1967 musical THE HAPPIEST MILLIONAIRE which has some great songs.
Both of these musical adaptations have their strong points. TOM SAWYER has John Williams at the helm, who helped the Shermans along the way to realizing their vision and managed to garner them all both an Oscar and a Golden Globe nomination in 1974. Williams’ own musical fingerprints are less noticeable here than in the music for FIDDLER ON THE ROOF. However, the song "How Come?" and moments in the orchestral interlude for "Hannibal Mo-(Zouree)!" have many orchestral decisions that Williams had used in his comedy scoring and in the pop crossover moments of his other scores from this time. The "River Song" is really a great lyric filled out by a moving melody aptly sung by no less than the great Charley Pride. It bookends the main portion of the score’s representation here. There is also the common made up word song that the Sherman’s were so very good at writing in "Gratifaction." The Shermans had labored a while on this musical adaptation which shows in the carefully crafted lyrics.
HUCKLEBERRY FINN features a great song, "Freedom" sung by Roberta Flack in two versions which take up nearly seven minutes of the disc’s playing time. The songs here are also good, but something is missing here. The arrangements by Fred Werner seem to be simple homophonic arrangements of the songs, the equivalent of a piano part that has been simply assigned to instrumental voices without added embellishment. The recording is also a little harsher with several songs dialed down in fade outs. The standouts here are really the two songs that feature Harvey Korman, who earlier that year shone in BLAZING SADDLES. "The Royal Nonesuch" is perhaps the finer of the two songs he gets to sing and has the kind of feel of some of the humorous songs sung in THE HAPPIEST MILLIONAIRE by Tommy Steele’s character John Lawless. Jeff East’s song "What’s Right—What’s Wrong?" is another stand out song that could use a better recording and performance. The recording overall of HUCKLEBERRY FINN at times seems to have a sound quality of a recording that is far older than this one.
Varese has included texts for all the songs from TOM SAWYER but none for those from HUCKLEBERRY FINN which is just plain strange. This is worth seeking out for all fans of the Sherman brothers and also for Williams completists.
--Steven A. Kennedy, 14 September 2004
THE ULTIMATE HORROR MOVIE ALBUM
10 Tracks [Total Time = 64:28]
Concept and Compilation by R. Peter Munves. Design: Carla Leighton. Art Direction: Penny Bennett. CD Notes by Bruce Eder.
Decca 289 467 371-2
Rating: ***1/2
Unlike the lackluster 2-CDs titled THE MOST FRIGHTENING MUSIC IN THE UNIVERSE [reviewed above], this single CD is a much better sampling of memorable horror film scores from the past, even with its boastful title. The CD was released in 2000 but should still be available and is being reviewed now because of the nearness to Halloween. The CD covers quite a lot of history. All the tracks come from previously released Decca or London albums.
The CD opens with a brief excerpt from PHANTOM OF THE OPERA, made famous by Lon Chaney, who speaks a short introduction for the 1929 reissue of this classic early horror film. The music is by Domenico Savino and Sam Perry.
Most of the CD tracks (7 out of 10) are performed by the Hollywood Bowl Orchestra, under the skillful direction of John Mauceri. Two tracks feature the London Philharmonic Orchestra, conducted by Bernard Herrmann. The remaining track is not really a soundtrack theme, but instead from Tchaikovsky's ballet "Swan Lake," as used as Main Title for the original DRACULA of 1931. Here it's performed by Orchestra Symphonique de Montreal, conducted by Charles Dutoit.
Among the highlights of the Hollywood Bowl tracks are: a very good Main Title from Jerry Goldsmith's Oscar-winning THE OMEN; a mostly successful suite from Franz Waxman's THE BRIDE OF FRANKENSTEIN (1935), complete with a bit of dialogue by actor Colin Clive; and a fine performance by Stephem Hough of the Piano Concerto from Miklos Rozsa's SPELLBOUND (1945)-- which I wouldn't classify as "a horror movie."
There are also two less often heard scores condcuted by Mauceri: DRACULA (Night Journeys) from 1979, music by John Williams; and the final track - a suite from Franz Waxman's DR. JEKYLL & MR. HYDE (1941).
The two Herrmann tracks are very familiar to score collectors: VERTIGO (Prelude and Nightmare) and PSYCHO (A Narrative for Orchestra). Although some have complained about Herrmann's slow tempi in his conducting, I don't find them at all objectionable since the music is so chilling and creepy. Both of these scores are among the greatest horror or suspense ones ever written for a Hollywood film.
The notes by Bruce Eder are somewhat abbreviated but helpful. The CD booklet and jewel case are appropriately "batty" to fit the horror theme of the album.
This is a very good collection if you don't already have the soundtracks to these classic horror films.
-- Roger Hall, 26 October 2004
| Editor's Choice for October
|
YO-YO MA PLAYS ENNIO MORRICONE (2004)
19 Tracks [Total Time = 56:00]
Music composed and conducted by Ennio Morricone. Performed by Yo-Yo Ma, cello, Gilda Buttá, piano, and the Roma Sinfonietta Orchestra. Produced by Ennio Morricone. Music recorded at Forum Music Village Studios, Rome, Italy. Recording engineered by Fabio Venturi. Art Direction and Design by Roxanne Slimak
Sony Classical SK 93456
Rating: *****
When I first heard about Yo-Yo Ma’s latest foray into film music, I was a bit hesitant but still very interested to see first what he would include in a Morricone compilation, and second how it would avoid being muzak sounding. Rest assured that this is anything but muzak wallpaper. These are heartfelt, highly emotional readings of some of Morricone’s most famous thematic ideas. Rather than play excerpted pieces, Morricone has crafted miniature suites around directors or individual films with Ma’s cello providing connecting tissue. The cello part is woven into the actual film score in such a way that the sense of the original material is never lost.
If you were to purchase an album based on a love of Morricone, or even casual awareness of his music for a particular film, you would cease what you were doing the moment the disc begins. "Gabriel’s Oboe" is among his most famous individual pieces to come from his films. Here it becomes an amazing miniature that allows Ma to weave his embellishments in and around the great theme. For the most part, the disc has a kind of romantic lyricism that infuses the performances. There is not a lot of harsh music here. The weakest part of the disc comes in the "Sergio Leone Suite" with a selection from THE GOOD, THE BAD, AND THE UGLY. Still it is all compelling listening.
The orchestra sounds great with Ma’s sound prominently displayed in a tasteful way that allows it to be both solo instrument and a part of the ensemble. This disc turns out to be one of Ma’s best crossover albums in some time. It is superior to the two CINEMA SERENADE discs that Itzhak Perlman made a few years ago, even though they are both fine discs in their own right. This recording is well worth seeking out and will be a great way to introduce Morricone to even a larger audience.
Let’s hope Ma continues to explore the film repertoire in such classy ways!
--Steven A. Kennedy, 1 October 2004
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
Another Review...
I must say this one of the best film music crossover albums that's been produced in many years. That is largely due to the two principal artists: classical cellist (Yo-Yo Ma) and the film composer (Ennio Morricone).
If this CD compilation of great Morricone themes doesn't melt your heart with its warmth and beauty, you're a very cold human specimen indeed.
Yo-Yo Ma continues to amaze with his versatility and supreme sensitivity to whatever music he performs and records. And Morricone is surely one of the greatest of all Italian film composers. He has provided some of the most memorable film themes from the 1960s onward.
The CD project began when Yo-Yo Ma met Morricone at the Academy Awards ceremony in 2001, when Ma performed the theme from CROUCHING TIGER, HIDDEN DRAGON and Morricone was there for his Oscar-nominated score, MALENA. As a result of this meeting, Morricone decided to arrange many of his best known themes into suites that feature a solo cello.
Morricone is a five-time Oscar nominee and winner of a Grammy and two Golden Globes. He is one of the most prolific film composers working today, with hundreds of films scores to his credit. He has worked with just about every major international film director and his film scores include everything from his early "spaghetti westerns" like A FISTFUL OF DOLLARS to action films like IN THE LINE OF FIRE.
The music on the new CD includes themes from THE MISSION; CINEMA PARADISO; ONCE UPON A TIME IN AMERICA; THE GOOD, THE BAD AND THE UGLY; THE UNTOUCHABLES; and others. Of special interest are rarer items like a "Moses and Marco Polo Suite" (from two TV miniseries), and theme from THE LADY CALIPH for Italian director Alberto Bevilacqua.
I agree with Steve that the "Sergio Leone Suite" section from THE GOOD, THE BAD AND THE UGLY is the weakest part but still enjoyable. Yet that Suite opens with one of Morricone's most beautiful themes--and one of my favorites--from ONCE UPON A TIME IN AMERICA.
This is a superb CD compilation with excellent performances by Yo-Yo Ma and the Roma Sinfonietta Orchestra, conducted by Ennio Morricone.
Not to be missed if you love Morricone's music.
Highest recommendation.
--Roger Hall, 4 October 2004
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