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I forgot until my 3 year old just started watching The Incredibles how much I love that jazz score including sax.
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The Russia House
The Fugitive
48 HRS.
Last Tango In Paris
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NOT a film score, but it would be remiss of ANY 'fave sax use' thread to not include Michael Kamen's STUNNING Concerto for Sax & Orchestra.
Every home should have one.
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Lots of good posts, so I'll add three that haven't been mentioned
Alan Silvestri - Romancing the Stone
David Foster - The Secret of My Success and Stealing Home
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All sax cues enter, one sax cue leaves
MAD MAX BEYOND THUNDERDOME.
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I'm not a huge fan of the solo sax in orchestral scores, but there are some exceptions. Howard L mentioned John Williams' CATCH ME IF YOU CAN. There's one track on that which is strikingly carried by solo sax. Let's see if my memory has completely gone... Would the track that showcases that element be called "Father and Son"?
What I do love is the sax when used as part of a jazz (usually what Jerry Goldsmith called "ersatz jazz") score/track. I like the previously-mentioned Tony Ortega sax on Bill Conti's AN UNMARRIED WOMAN (I think that Jim Phelps put a link to the track "Packing Up" recently).
I like Ronnie Lang's sax on TAXI DRIVER, but I actually prefer the sax on the jazzed-up original LP . you know, the one that was half Herrmann and half Dave Blume arrangements. I love those Blume tracks. Again, going on memory, I believe that Tom Scott did the solos there, right?
I don't think anyone has mentioned Ronnie Scott on Roy Budd's FEAR IS THE KEY. That's outstanding. Has it ever surfaced without those intrusive sound effects of screeching wheels and brakes?
Ah yes, Art Pepper! Top marks to whoever mentioned Fielding's THE ENFORCER! I think Art Pepper was also the soloist on THE GAUNTLET, and it's just brilliant when his baritone sax comes in on the track... Jeez, my memory - "The Black Sedan"? "Manipulation on the Center Divider"?
A whole new category would be jazz musicians on more free-form jazz scores - Barney Wilen on Miles Davis' ASCENSEUR POUR L'ÉCHAFAUD for example. I'm hardly even scraping the surface.
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Definitely Goldsmith's BASIC INSTINCT.
Oh. Oh, you said "SAX." My bad.
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Philip Glass usage in KOYANNISQATSI (and PGE of that era), still an inspiration to me and a GREAT color.
Max Steiner's use out of necessity to give some weight to his brass section in KING KONG.
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The cimbalom gets all the attention in John Barry's The Ipcress File, but . . . In the cue "Meeting With Grantby and Fight" a wailing soprano sax snakes through the clanging cimbalom ostinato and tense brass bursts. If I'm right that this is a soprano and not alto, then it is a rare solo use of the instrument in 1965. Sure, Coltrane was playing it a lot, and Sidney Bechet before him, but the start of the soprano sax explosion in jazz was still a few years away--1969--when Wayne Shorter used it on Miles Davis's In a Silent Way and Bitches Brew and then a couple of years later with his own group, Weather Report. Then everyone was using it.
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Has no one mentioned Alex North's Streetcar Named Desire?
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