CD Reviews: The Gauntlet and The Mad, Mad World of Soundtracks
by Lukas Kendall
The Gauntlet *** 1/2 (1978)
JERRY FIELDING
Warner Music France 9362-47882-2
10 tracks - 31:10
The Gauntlet is one of the few Jerry Fielding scores released
on vinyl at the time of the film. The reason why is obvious: unlike many
of his prime '70s dramatic scores (The Mechanic, Bring Me the Head of
Alfredo Garcia), The Gauntlet blends his unparalleled avant
garde writing with an accessible, lighthearted tone that references blues
and jazz with the help of top-notch soloists Jon Faddis (trumpet) and Art
Pepper (saxophone).
The film features Clint Eastwood (who also directed) as the anti-Dirty
Harry cop -- a down-and-out alcoholic given a seemingly meaningless assignment
-- and Fielding opens the score with a piece of easygoing blues, a variation
of the spiritual "Just a Closer Walk with Thee." As the plot thickens and
the action mounts -- Sandra Locke in tow -- Fielding's score grows into
familiar territory, with irregular percussive patterns, queasy synthesizers,
swirling strings and dissonant big band brass, audaciously emboldened by
the presence of Faddis and Pepper jamming with the orchestra.
One of the major setpieces is an example of Fielding the virtuoso jazz
arranger in addition to film composer: the 4:41 titular track is based
on the final movement, "Solea" from the classic Miles Davis album, Sketches
of Spain. The connection is that trumpetist Faddis had played with
Gil Evans, the arranger and conductor on the seminal Sketches recording.
Hearing the Spanish-flavored "Solea" dance along to the snare drums so
common in Fielding's suspense work is a sublime experience, one of the
highlights of Fielding's ouevre in the late '70s, which was otherwise showing
strain from the composer's age, perfectionism and disillusionment with
Hollywood.
The Gauntlet is an example of a "light" score with twists and
turns that make it a whole lot deeper; case in point, "Exit Tunnel, Roaring!"
which starts as a bluesy duet and becomes a squealing, maddening piece
of '70s pursuit. The Gauntlet abandons the singleminded bleakness
of a minor masterpiece like The Mechanic, and may seem dated by
its '70s jazz elements, but make no mistake -- it is the work of a wizard.
The Mad, Mad World of Soundtracks Vol. 2 ****
VARIOUS
Universal Jazz Germany 520 942-2
20 tracks - 55:17
From Frank Jastfelder and Stefan Kassel (authors of The Album Cover
Art of Soundtracks, buy this from our online store) and producer Matthias
Küennecke come this long-awaited second volume of rare, swinging,
"mod" and hip cover performances of film and TV soundtracks. The first
volume featured tracks recorded between 1966 and 1972; this sequel covers
1968 through 1977. This might seem anathema to film score purists -- and
pure gold to our columnist, John Bender -- but these are not original film
versions. Rather, the producers have sought out bizarre vocals, covers,
pop singles and so forth covering familiar themes, as well as obscure ones.
On the familiar end: Astrud Gilberto doing "A Time for Us" from the
1968 Romeo and Juliet (Nino Rota); The Bachelors altering "Diamonds
Are Forever" (John Barry) to a male perspective (which plays havoc with
the lyrics: "They are all you need to please her..."); Scott Walker doing
"That Night" from The Fox (Lalo Schifrin); the vocal version of
"The Odd Couple" (Neal Hefti) with charming lyrics; and The Gunter Kallmann
Choir changing the phrasing of "The Windmills of Your Mind" from The
Thomas Crown Affair (Michel Legrand and the Bergmans) -- not necessarily
an improvement. Two punchy '70s U.S. TV themes are given great instrumental
treatments: John Gregory's cover of The Six Million Dollar Man (Oliver
Nelson) and Pat Williams' own cover of "The Streets of San Francisco."
There are also German film and TV selections: Das Gelbe Haus Am Pinnasberg
by Rolf Kühn, Wie Ein Blitz by Sam Spence (sounds like NFL
music!), Tatort by Klaus Doldinger, Angels Who Burn Their Wings
by the almost distinctive Peter Thomas, Die Kette by Jochen Brauer
Group & Tender Aggression (a great piece of '70s German proto-disco)
and Robbi, Tobbi & Das Fliewatüüt by Ingfried Hoffmann (the
O.S.T. to a popular German children's TV series). German fusion pop of
the '60s and '70s is very distinctive -- pulsating, hard-edged and tuneful
-- and these are great cuts.
There are also softer songs: Ella Fitzgerald singing the title theme
from A Place for Lovers (Manuel De Sica and Norman Gimbel); Claudine
Longet doing "Nothing to Lose" from The Party (Henry Mancini and
Don Black); and a rare Chet Baker vocal of "Come Saturday Morning" from
The Sterile Cuckoo (Fred Karlin and Dory Previn). Rounding out the
tracks are three instrumental oddities: organist Jimmy Smith's haunting
take on The Night Visitor (Henry Mancini) as arranged by the late,
great Oliver Nelson; Fred Hector & His Accordion Orchestra's version
of "Bond Street" (with nine accordions!) from Casino Royale (Burt
Bacharach) -- which I at first thought was the Benny Hill theme;
and a straight 4/4 version by The Button Down Brass of The French Connection
(Don Ellis). This last track, incidentally, bears almost no resemblance
to anything from The French Connection (available from FSM),
but it's still a fun track.
The liner notes provide a history of each track -- essential reading
considering their diverse and obscure origins. All in all a marvelous compilation,
from the selections to the sound quality to the retro packaging.
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