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That's a great score. As you mention, the Main Title is a tremendous piece, full of big band excitement. I love the way the secondary themes kick in too, almost like they're an introduction to some of his Sinatra songs. Great stuff.
People on this board have spoken highly of Costa's THE SOUL OF NIGGER CHARLEY. I haven't heard it, but it was apparently quite high profile, relatively speaking.
I do recall his attractive Titles for the TV thingy LOOSE CHANGE - a kind of almost soppy piano-based theme, but with some twists worthy of someone like Jerry Fielding. It kind of put me in mind of Fielding's girly pianos for THE BIONIC WOMAN.
And ROUGH NIGHT IN JERICHO - I think that was Costa - I've got it on tape, from the days when we old folks used to hold a mike up to the TV. Good music.
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This is a favorite of mine also and yet another candidate to someday be freed from Universal's vaults.
I love the way the great main title seques into the suspense of Widmark and Guardino breaking in on Ihnat and his girl, then building even more when the tables are turned on them, and finally releasing the tension with their unsuccessful pursuit of Ihnat. The first 5-7 minutes of the film must be wall-to-wall music, with Costa exhibiting an almost "Goldsmithian" ability to follow the changing rhythms of this extended opening sequence.
THE SOUL OF NIGGER CHARLEY is well worth seeking out as most of the score plays out more like the backing for an urban thriller rather than "blaxploitation western" the film actually is--
kind of MADIGAN in a funk mood.
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I'm in the midst of watching the "Madigan" movie and am very impressed with Costa's jazzy score. This is the sort of soundtrack release FSM would have been great at - I hope one of the other labels picks this up at some point.
In addition, I was amused to note the "Columbo"-like main credits. I guess Universal used that font for features as well!
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Glad to see this one brought up to top of the pile again. I'd LOVE to hear this one in a stereo release someday.
(Gotta cringe at Michael Dunn's billing--Midget Castiglione. Ah well, it WAS 1967.)
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Yeah good score, catchy. In fact, the film was a forerunner for Dirty Harry - certainly an early "robust uncompromising" cop theme.
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