The only film scores that benefit from re-recordings are orchestral-based scores, because orchestral writing comes from a tradition of putting everything on paper specifically so it can performed again.
Things with jazz/pop/rock/world elements generally don't work with re-recordings, because those are aural/oral-based forms in which too much is left to the sensibilities of the players. Additionally, too much can go wrong with production values and/or instruments. Lalo Schifrin's "Mannix" re-recording is a perfect example of how and why jazz/pop remakes often don't work. His "Bullett" remake came closer to the mark.
The only film scores that benefit from re-recordings are orchestral-based scores, because orchestral writing comes from a tradition of putting everything on paper specifically so it can performed again.
Things with jazz/pop/rock/world elements generally don't work with re-recordings, because those are aural/oral-based forms in which too much is left to the sensibilities of the players. Additionally, too much can go wrong with production values and/or instruments. Lalo Schifrin's "Mannix" re-recording is a perfect example of how and why jazz/pop remakes often don't work. His "Bullett" remake came closer to the mark.
Really? I ADORE Schifrin's MANNIX rereccording, and prefer it over the original. I've even played it at parties.
Really? I ADORE Schifrin's MANNIX rereccording, and prefer it over the original. I've even played it at parties.
I think it is wrong on so many levels - production, piano/organ sound, heavy handedness of ensemble, solos not in the pocket. A few tracks came off better than others. But I'm not going to knock anyone who plays Lalo Schifrin at parties.
