 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Big fan here - especially his brilliant score to High and Low, my favorite Kurosawa film.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Nov 27, 2007 - 3:24 PM
|
|
|
|
By: |
ShelfLife
(Member)
|
Wonderful composer all the way, I discoverd him through Criterion's great editions of Yojimbo and Sanjuro. I found it fascinating to hear a sixties swinging, brassy action score written years before John Barry rose to fame with stuff like this.
Fumio Hayasaka is another and maybe even more impressive composer, his work for Mizoguchi's Ugestu and Sansho the Bailiff or Kurosawa's Igetsu and Seven Samurai is brilliant.
If I won the lottery I'd produce rerecordings of these landmark compositions.
I should buy you a lottery ticket.
It's amazing that Hayasaka passed away so early in his Kurosawa collaboration and that his student took over and created score that were every bit the equal of, if not (arguably) better than, his master's.
You voiced my opinion exactly, that Satoh was composing the type of sixties swinging, brassy action scores with unusual instrumentation in 1961 that Barry and Morricone built a genre on.
The reason for the spare, brassy, percussive sound was most likely the time constraint. Satoh supposedly had a WEEK to compose and record the entire Yojimbo score. In a similar race with time, John Barry had to scrap his written music for the raid on Fort Knox scene in Goldfinger when Guy Hamilton rejected it, and actually wrote the music used in the film during the recording session- the result was a brassy, percussive tense spare track that is actually very similar in style to the YOJIMBO score.
Thank short deadlines for the amazing sound! 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
