SOUNDTRACKS
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Soundtracks are a lot more than movie music...
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
I’ve loved the music of Mark Isham from the first time I played the promo, vinyl version “On
the Threshold of Liberty” and “Many Chinas” back in the early 80s. Then I picked up “Film
Music,” which collected Isham’s first three scores – for Never Cry Wolf, The Life & Times of
Harvey Milk and the little seen Diane Keaton-Mel Gibson film Mrs. Soffel. It was the latter
score, from 1985, that really set my ear on edge. Isham seemed to tap into a well of
melancholy tinged melodies that particularly resonated with me. He also pioneered in
seamlessly combining synthesizers with acoustic instruments. Over 20 years later, this
remains one of my favorite all time film scores. Isham’s talent quickly moved him to the
forefront of independent film scorers (perhaps out of choice he’s never done one a
blockbuster) and he has written dozens of memorable scores (two of my other all time
favorites are Trouble in Mind and The Moderns).
Now Isham has created one of the year’s best scores – ironically, for one of the year’s worst
movies. This is The Black Dahlia (soundtrack on Silva Records). DePalma’s film noir
based on the novel of James Ellroy was a mess – and mercilessly pounded by critics and
audiences alike. But Isham’s score is magnificent and has all the hallmarks of a great noir
score – from Isham’s own forlorn trumpet solos that instantly recall the genre to the driving,
percussive cues that support the film’s big set pieces and crackle with vitality. Think
Chinatown, The Grifters and L.A. Confidential and you’ve got it. And Isham has written a love
theme (“The Two of Us”) that while not in a league with the genre’s masterpiece, Jerry
Goldsmith’s “Theme From Chinatown,” certainly holds it own.
Go get it RIGHT NOW.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the ARCHIVES
Next Recommendation: TBA
the Threshold of Liberty” and “Many Chinas” back in the early 80s. Then I picked up “Film
Music,” which collected Isham’s first three scores – for Never Cry Wolf, The Life & Times of
Harvey Milk and the little seen Diane Keaton-Mel Gibson film Mrs. Soffel. It was the latter
score, from 1985, that really set my ear on edge. Isham seemed to tap into a well of
melancholy tinged melodies that particularly resonated with me. He also pioneered in
seamlessly combining synthesizers with acoustic instruments. Over 20 years later, this
remains one of my favorite all time film scores. Isham’s talent quickly moved him to the
forefront of independent film scorers (perhaps out of choice he’s never done one a
blockbuster) and he has written dozens of memorable scores (two of my other all time
favorites are Trouble in Mind and The Moderns).
Now Isham has created one of the year’s best scores – ironically, for one of the year’s worst
movies. This is The Black Dahlia (soundtrack on Silva Records). DePalma’s film noir
based on the novel of James Ellroy was a mess – and mercilessly pounded by critics and
audiences alike. But Isham’s score is magnificent and has all the hallmarks of a great noir
score – from Isham’s own forlorn trumpet solos that instantly recall the genre to the driving,
percussive cues that support the film’s big set pieces and crackle with vitality. Think
Chinatown, The Grifters and L.A. Confidential and you’ve got it. And Isham has written a love
theme (“The Two of Us”) that while not in a league with the genre’s masterpiece, Jerry
Goldsmith’s “Theme From Chinatown,” certainly holds it own.
Go get it RIGHT NOW.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the ARCHIVES
Next Recommendation: TBA
| The soundtrack cover and its composer, jazz trumpeter and longtime film composer, Mark Isham |
