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Yes.
Schifrin grew up in a musical household. His father was concert master of the Buenos Aires Philharmonic. Schifrin loved classical music, but he also loved jazz. He studied music in Paris with Olivier Messiaen but played jazz piano in the late-night clubs of Paris.
When he returned to Argentina he formed a big band and played at a reception for Dizzy Gillespie, who was so impressed he asked Lalo who wrote the charts. Schifrin said he did and Dizzy told him to get in touch if he ever came to America.
A couple of years later Schifrin moved to New York and told Gillespie he had an idea for a five-movement album-length work with unusual instrumentation: Dizzy's jazz quintet (trumpet, sax/flute, piano, bass, drums) and an orchestra of 4 trumpets, 3 trombones, bass trombone, 5 French Horns, tuba, conga, bongos, timpani. Gillespie asked Lalo how long it would take to write it and then reserved studio time in one month.
The piece is a powerhouse. Lalo was only twenty-eight.
From there he joined Gillespie's band, followed up with another album-length work (New Continent) and composed and/or arranged albums for a who's who of sixties jazz greats, winning Grammies for his compositions and arrangements for organist Jimmy Smith--The Cat, and for an album-length jazz mass for alto sax and flute player Paul Horn.
He also recorded many jazz albums under his own name throughout the sixties while doing film scores.
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Posted: |
Sep 21, 2024 - 6:16 PM
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By: |
NO NAME
(Member)
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Yes.
Schifrin grew up in a musical household. His father was concert master of the Buenos Aires Philharmonic. Schifrin loved classical music, but he also loved jazz. He studied music in Paris with Olivier Messiaen but played jazz piano in the late-night clubs of Paris.
When he returned to Argentina he formed a big band and played at a reception for Dizzy Gillespie, who was so impressed he asked Lalo who wrote the charts. Schifrin said he did and Dizzy told him to get in touch if he ever came to America.
A couple of years later Schifrin moved to New York and told Gillespie he had an idea for a five-movement album-length work with unusual instrumentation: Dizzy's jazz quintet (trumpet, sax/flute, piano, bass, drums) and an orchestra of 4 trumpets, 3 trombones, bass trombone, 5 French Horns, tuba, conga, bongos, timpani. Gillespie asked Lalo how long it would take to write it and then reserved studio time in one month.
The piece is a powerhouse. Lalo was only twenty-eight.
From there he joined Gillespie's band, followed up with another album-length work (New Continent) and composed and/or arranged albums for a who's who of sixties jazz greats, winning Grammies for his compositions and arrangements for organist Jimmy Smith--The Cat, and for an album-length jazz mass for alto sax and flute player Paul Horn.
He also recorded many jazz albums under his own name throughout the sixties while doing film scores.
I discovered his jazz albums in the 70's with TOWERING TOCCATA, BLACK WIDOW and GYPSIES and i loved them all. GYPSIES is awesome.
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Posted: |
Sep 22, 2024 - 2:01 AM
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By: |
Ross McEwen
(Member)
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Don't put every tracks but put the best ones. And instead of every titles from a score add main titles like Coogan's bluff, Escape to Athena, Caveman, Planet of the apes, etc. It is supposed to give people an overview of his talent and career. Why nothing from his 70's disco funk albums ? Why not the rejected score to the Exorcist ? Why not the expanded Enter the dragon edition ? This is a 16 cds box, don't tell me there was no way to included most of all this. It is something that when somebody buy he won't have to get other compilations to have his best music. Some 2 cd sets are sometime excellent to give the best. Just recall Un film, una musica lp by Ennio Morricone. Anyway, Lerouge made the same mistakes on his Morricone and Williams box. I am sure he would fail the final exam in a film score course.
"The best ones"? Isn't that subjective? I bet few people on this board would agree on the best tracks. Presumably Lerouge thinks he is including the best ones (perhaps of those available to him). I'll grant you his choices can seem perverse: I've still not quite forgiven him for omitting the charming "Un Bar a Orleans" from his "Police Python 357" tracks. But while I don't know the Morricone and Williams boxes well, anyone who produced the glorious Delerue, Legrand, and Jarre long boxes (packed with otherwise unavailable tracks) doesn't fail any exam in my opinion.
I do agree, however, that "Un Film, Una Musica" was a great LP set.
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I discovered his jazz albums in the 70's with TOWERING TOCCATA, BLACK WIDOW and GYPSIES and i loved them all. GYPSIES is awesome.
They're good albums, but all disco and / or pop influenced, and frankly the sort of thing Lalo could - and probably did - turn out in his sleep. Presumably you have FREE RIDE, which he did with Dizzy Gillespie back in 1977? It would seem to fit your tastes in that the wah-wah guitar/pop jazz element is very prominent, while Dizzy Gilespie is pushed very much into the background. Again, a decent enough album but not one that bears repeated listening (in my opinion).
Considering your love of Schifrin, which I share, I am surprised that you had no knowledge of his jazz work - which I suspect he values above most of his film and tv scores. If you got the Aleph boxset MY LIFE IN MUSIC you will note that it included several of his jazz pieces.
The trouble with compilations is that you can never satisfy everybody, and often you are constrained by what you can get the rights to. Most Lalo fans will have his MISSION / MORE MISSION:IMPOSSIBLE albums (or the MISSION ANTHOLOGY) or MANNIX, but these are what will often get included for the umpteenth time, and with good reason - they're terrific albums.
As to everything else, everyone has scores that they love and some they don't really rate. I, for instance, have never been able to get into COOGAN'S BLUFF for some reason, but I love his jazz/world music album ESPERANTO from 2000, and play it regularly (even if it does feature the WDR Big Band, a band I've never been particularly fond of).
I have most of the contents of the forthcoming CD set so will be giving it a miss, but anyone who's not so familiar with Lalo wouldn't be too disappointed, I suspect. Anyway - I hope Lalo is in reasonably good health!
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Posted: |
Sep 22, 2024 - 5:47 AM
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By: |
NO NAME
(Member)
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I discovered his jazz albums in the 70's with TOWERING TOCCATA, BLACK WIDOW and GYPSIES and i loved them all. GYPSIES is awesome.
They're good albums, but all disco and / or pop influenced, and frankly the sort of thing Lalo could - and probably did - turn out in his sleep. Presumably you have FREE RIDE, which he did with Dizzy Gillespie back in 1977? It would seem to fit your tastes in that the wah-wah guitar/pop jazz element is very prominent, while Dizzy Gilespie is pushed very much into the background. Again, a decent enough album but not one that bears repeated listening (in my opinion).
Considering your love of Schifrin, which I share, I am surprised that you had no knowledge of his jazz work - which I suspect he values above most of his film and tv scores. If you got the Aleph boxset MY LIFE IN MUSIC you will note that it included several of his ja
The trouble with compilations is that you can never satisfy everybody, and often you are constrained by what you can get the rights to. Most Lalo fans will have his MISSION / MORE MISSION:IMPOSSIBLE albums (or the MISSION ANTHOLOGY) or MANNIX, but these are what will often get included for the umpteenth time, and with good reason - they're terrific albums.
As to everything else, everyone has scores that they love and some they don't really rate. I, for instance, have never been able to get into COOGAN'S BLUFF for some reason, but I love his jazz/world music album ESPERANTO from 2000, and play it regularly (even if it does feature the WDR Big Band, a band I've never been particularly fond of).
I have most of the contents of the forthcoming CD set so will be giving it a miss, but anyone who's not so familiar with Lalo wouldn't be too disappointed, I suspect. Anyway - I hope Lalo is in reasonably good health!
I knew about his jazz albums but i didn't know it was before his soundtrack life. As i said at the before, it is not the ultimate Lalo Schifrin, its just a very very large volume 2.
By the way, sure i will buy it because its going to be a beauty to have. The only way to correct those missing cues would be to do another volume. Even if to correct Morricone mistakes, 2 volumes were not enough. And i will not talk about the Williams problems. I will say just this :No place to put the disco version of Close enconters...!
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If it is John Barry, he better include that Lion in Winter track that was recorded for The Concert John Barry album but not included. Thus far, he's only released it on LP.
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https://youtu.be/yW4LovcBNw4?si=rcUgBpu0HveyD1Em
This album is excellent and its not disco, its more funky. It remind me the Joe Kidd soundtrack.
It's a decent enough listen, but how often would you return to it? And I don't remember JOE KIDD having any sort of a backbeat 
From Doug Payne's Schifrin Discography (re: GYPSIES):
"Here, Schifrin continued exploring the disco rhythms he became fascinated with on his two previous CTI records. However, this all-instrumental program eschews improvisation (and much real jazz content) almost altogether, concentrating on Schifrin’s dynamic, tightly-constructed arrangements. Each of the eight pieces actually suggests a collection of disco concertos, with synthesizers and electric keyboards stating most of the main themes."
Anyway ,even if Lerouge pick up the titles his eyes close, i wish the next one will be John Barry.
I don't know - if he's been looking at this thread, he'll probably decide not to bother doing another one!
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Posted: |
Sep 22, 2024 - 9:27 AM
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By: |
NO NAME
(Member)
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https://youtu.be/yW4LovcBNw4?si=rcUgBpu0HveyD1Em
This album is excellent and its not disco, its more funky. It remind me the Joe Kidd soundtrack.
It's a decent enough listen, but how often would you return to it? And I don't remember JOE KIDD having any sort of a backbeat
From Doug Payne's Schifrin Discography (re: GYPSIES):
"Here, Schifrin continued exploring the disco rhythms he became fascinated with on his two previous CTI records. However, this all-instrumental program eschews improvisation (and much real jazz content) almost altogether, concentrating on Schifrin’s dynamic, tightly-constructed arrangements. Each of the eight pieces actually suggests a collection of disco concertos, with synthesizers and electric keyboards stating most of the main themes."
Anyway ,even if Lerouge pick up the titles his eyes close, i wish the next one will be John Barry.
I don't know - if he's been looking at this thread, he'll probably decide not to bother doing another one!
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Posted: |
Sep 22, 2024 - 10:00 AM
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By: |
NO NAME
(Member)
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https://youtu.be/yW4LovcBNw4?si=rcUgBpu0HveyD1Em
This album is excellent and its not disco, its more funky. It remind me the Joe Kidd soundtrack.
It's a decent enough listen, but how often would you return to it? And I don't remember JOE KIDD having any sort of a backbeat
From Doug Payne's Schifrin Discography (re: GYPSIES):
"Here, Schifrin continued exploring the disco rhythms he became fascinated with on his two previous CTI records. However, this all-instrumental program eschews improvisation (and much real jazz content) almost altogether, concentrating on Schifrin’s dynamic, tightly-constructed arrangements. Each of the eight pieces actually suggests a collection of disco concertos, with synthesizers and electric keyboards stating most of the main theme
I am not one of those who considers disco a negative fact.
Anyway ,even if Lerouge pick up the titles his eyes close, i wish the next one will be John Barry.
I don't know - if he's been looking at this thread, he'll probably decide not to bother doing another one!
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Most probably, Monsieur Lerouge doesn't mind at all what has been said in this thread. I suppose he is too busy preparing his next wonderful releases.
I was joking...
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Those Schifrin CTI and CBS records. I heard them back in the day and didn't care for them. Of course, I was comparing them to the composer's high standard. I've always been curious to give them another shot and one day I will, out of respect for Schifrin and because he's proven me wrong before:
When I heard Rock Requiem when it was released in 1971 I rather hated it. It was not cool like Bullitt or charged with orchestral folk like Cool Hand Luke. Not witty like those Baroque 'n' jazz harpsichord solos on Schifrin/Sade. It did not have the penetrating alto sax and flute solos of Paul Horn like Schifrin's jazz mass. It was, as advertised, a rock requiem mass with chorus and a solo male vocalist.
Thirty years later I bought a used copy in a New Orleans shop, thinking I'd give it another try. I found it to be very moving and was taken aback by the emotions it stirred in me. Thank you to this label for finally giving this a CD release on your previous Schifrin box.
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Perhaps because the complete jazz albums included are remarkable testaments to Schifrin's compositional mastery, and that, unlike many if not most film composers, Schifrin has a life and career beyond film music that connects to a larger audience.
Others beyond the rarified film music kingdom might wonder why movie music tunes are included on the set.
Perhaps, but even a cursory examination of the series title - Écoutez le Cinéma - seems to suggest otherwise.
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A & C, You got me there!
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A & C, You got me there!
Hopefully, i didn't come off as being condescending. No offense intended if so.
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