| Lalo Schifrin — There’s a Whole Lalo Schifrin Goin’ On (1968, Reissue 2013) |
Lalo Schifrin — There’s a Whole Lalo Schifrin Goin’ On
♠♠ Classical and jazz-influenced composer responsible for countless film scores.
Birth name: Boris Claudio Schifrin
Born: June 21, 1932 in Buenos Aires, Argentina
Styles: Bop, Film Music, Spy Music, Original Score, Soundtracks, Film Score, Chamber Music
Location: Buenos Aires, Paris, Hollywood
Album release: 2013
Recorded: March 18, 19 & 20, 1968, Los Angeles
Record Label: Dot DLP 25852/Universal Music France/EmArcy
Duration: 28:45
Tracks:
01 Secret Code Synthesizer 2:31
02 Dissolving 2:33
03 Machinations 2:45
04 Bride of the Wind 2:39
05 Life Insurance 2:10
06 How to Open at Will the Most Beautiful Window 3:03
07 Vaccinated Mushrooms 2:16
08 Two Petals, a Flower and a Young Girl 2:45
09 Wheat Germ Landscapes 2:41
10 Gentle Earthquake 3:29
11 Hawks Versus Doves 2:25
Bonus Tracks: Four Universal Titles by Lalo Schifrin
12 Lucille 2:42
13 Self-Destruct 2:36
14 Another Side of Harry 2:25
15 Blues a Go-Go 2:51
All compositions by Lalo Schifrin
Credits:
♠♠ Hank Cicalo Engineer
♠♠ Tom Mack Producer
♠♠ Gary Owens Title
♠♠ Lalo Schifrin Composer, Conductor, Piano, Primary Artist, Synthesizer
Personnel:
♠♠ Lalo Schifrin — piano, synthesizer, arranger, conductor
♠♠ Tony Terran, John Audino — trumpet
♠♠ Lloyd Ulyate, Barrett O'Hara — trombone
♠♠ John Johnson — tuba
♠♠ Vincent DeRosa — horn
♠♠ Bud Shank, Ronnie Lang, Sam Most — reeds
♠♠ Arnold Kobentz — oboe, English horn
♠♠ Ralph Grierson, Artie Kane, Roger Kellaway, Mike Lang — keyboards
♠♠ Paul Beaver — keyboards, synthesizer, stereo harp
♠♠ Carl Fortina — accordion
♠♠ Howard Roberts, Dennis Budimer, Bill Pitman, Louis Morell — guitar
♠♠ James Bond, Ray Brown — bass
♠♠ Carol Kaye, Max Bennett — electric bass
♠♠ Shelly Manne — drums, percussion
♠♠ Earl Palmer, Ken Watson, Joe Porcaro, Emil Richards — percussion
♠♠ Milt Holland — tabla
♠♠ Bonnie Douglas, Sam Freed, Anatol Kaminsky, Nathan Kaproff, George Kast, Marvin Limonick, Erno Neufeld, Paul Shure — violin
♠♠ Myra Kestenbaum, Allan Harshman, Robert Ostrowsky, Virginia Majewski — viola
♠♠ Raphael Kramer, Edgar Lustgarten, Eleanor Slatkin — cello
♠♠ Catherine Gotthoffer — harp
♠♠ Robert Helfer — orchestra manager
Awards:
♠♠♠ To date, Lalo Schifrin has won four Grammy Awards (with twenty-one nominations), one Cable ACE Award, and received six Oscar nominations, and has a star on the Hollywood Walk of Fame.
Similar albums: Laurie Johnson: Avengers/Luis Bacalov: The Postman (Il Postino)/John Barry: On Her Majesty's Secret Service/Roy Budd: Tomorrow Never Comes
♠♠♠ For the first time on CD (with four bonus tracks), the imaginary soundtrack which Lalo Schifrin might have written for Luis Bunuel.
♠♠♠ Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There’s a Whole Lalo Schifrin Goin’ On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa’s more thoughtful efforts.
♠♠♠ Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in “Hawks Vs. Doves,” in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other. Elsewhere, Schifrin uses unusual percussion, dissonance, and tense, sonically fragmented piano to create soundscapes that are unlike most of the rest of his work. “Secret Code” integrates tabla drums, not a common instrument in American jazz of the time, with a cold, flute-like synthesizer — probably the first time those two instruments were used together. This album was ahead of its time in terms of instrumentation, but was a product of its time in that established ways of doing things were being challenged. Fans of Lalo Schifrin’s work will find this to rank with his best, and those not familiar with anything but the Mission Impossible theme will be drawn in further by the eccentric genius displayed here.
♠♠♠ “This album,” says Lalo today, “was a rather absurd writing-challenge, like self-provocation as a composer. I asked myself what would have happened if Luis Bunuel had been writing music. Would he have been capable of finding notes that were equivalent to Surrealism?”
♠♠♠ Completed by a few other Schifrin gems from the Universal archives, this album is the zaniest work ever recorded by the Argentinean master, the soundtrack to an imaginary film revered by a nucleus of faithful fans around the world. “Don’t listen seriously to this album,” he sums up, “the whole thing’s a gag, a musical satire like an extravagant plunge into Surrealism.”
© ♠♠♠ Lalo Schifrin in concert with the Big Band of the Kölner Musikhochschule on July 7th 2006 in Cologne, Germany. Photo credit: Alexandra Spürk (Alexi)
_______________________________________________________________
Review by Richard Foss; Score: ****
♠♠♠ Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There's a Whole Lalo Schifrin Goin' On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa's more thoughtful efforts. Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in "Hawks Vs. Doves," in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other. Elsewhere, Schifrin uses unusual percussion, dissonance, and tense, sonically fragmented piano to create soundscapes that are unlike most of the rest of his work. "Secret Code" integrates tabla drums, not a common instrument in American jazz of the time, with a cold, flute-like synthesizer — probably the first time those two instruments were used together. This album was ahead of its time in terms of instrumentation, but was a product of its time in that established ways of doing things were being challenged. Fans of Lalo Schifrin's work will find this to rank with his best, and those not familiar with anything but the Mission Impossible theme will be drawn in further by the eccentric genius displayed here. Note: Like many of Schifrin's albums of the period, there is no listing of musicians on the album cover, so it is difficult to know who is responsible for the marvelous performances here, except for Schifrin's own contributions.
Website: http://www.schifrin.com/
Facebook: https://www.facebook.com/lalo.schifrin?fref=ts
_______________________________________________________________
| Lalo Schifrin — There’s a Whole Lalo Schifrin Goin’ On (1968, Reissue 2013) |
♠♠ Classical and jazz-influenced composer responsible for countless film scores.
Birth name: Boris Claudio Schifrin
Born: June 21, 1932 in Buenos Aires, Argentina
Styles: Bop, Film Music, Spy Music, Original Score, Soundtracks, Film Score, Chamber Music
Location: Buenos Aires, Paris, Hollywood
Album release: 2013
Recorded: March 18, 19 & 20, 1968, Los Angeles
Record Label: Dot DLP 25852/Universal Music France/EmArcy
Duration: 28:45
Tracks:
01 Secret Code Synthesizer 2:31
02 Dissolving 2:33
03 Machinations 2:45
04 Bride of the Wind 2:39
05 Life Insurance 2:10
06 How to Open at Will the Most Beautiful Window 3:03
07 Vaccinated Mushrooms 2:16
08 Two Petals, a Flower and a Young Girl 2:45
09 Wheat Germ Landscapes 2:41
10 Gentle Earthquake 3:29
11 Hawks Versus Doves 2:25
Bonus Tracks: Four Universal Titles by Lalo Schifrin
12 Lucille 2:42
13 Self-Destruct 2:36
14 Another Side of Harry 2:25
15 Blues a Go-Go 2:51
All compositions by Lalo Schifrin
Credits:
♠♠ Hank Cicalo Engineer
♠♠ Tom Mack Producer
♠♠ Gary Owens Title
♠♠ Lalo Schifrin Composer, Conductor, Piano, Primary Artist, Synthesizer
Personnel:
♠♠ Lalo Schifrin — piano, synthesizer, arranger, conductor
♠♠ Tony Terran, John Audino — trumpet
♠♠ Lloyd Ulyate, Barrett O'Hara — trombone
♠♠ John Johnson — tuba
♠♠ Vincent DeRosa — horn
♠♠ Bud Shank, Ronnie Lang, Sam Most — reeds
♠♠ Arnold Kobentz — oboe, English horn
♠♠ Ralph Grierson, Artie Kane, Roger Kellaway, Mike Lang — keyboards
♠♠ Paul Beaver — keyboards, synthesizer, stereo harp
♠♠ Carl Fortina — accordion
♠♠ Howard Roberts, Dennis Budimer, Bill Pitman, Louis Morell — guitar
♠♠ James Bond, Ray Brown — bass
♠♠ Carol Kaye, Max Bennett — electric bass
♠♠ Shelly Manne — drums, percussion
♠♠ Earl Palmer, Ken Watson, Joe Porcaro, Emil Richards — percussion
♠♠ Milt Holland — tabla
♠♠ Bonnie Douglas, Sam Freed, Anatol Kaminsky, Nathan Kaproff, George Kast, Marvin Limonick, Erno Neufeld, Paul Shure — violin
♠♠ Myra Kestenbaum, Allan Harshman, Robert Ostrowsky, Virginia Majewski — viola
♠♠ Raphael Kramer, Edgar Lustgarten, Eleanor Slatkin — cello
♠♠ Catherine Gotthoffer — harp
♠♠ Robert Helfer — orchestra manager
Awards:
♠♠♠ To date, Lalo Schifrin has won four Grammy Awards (with twenty-one nominations), one Cable ACE Award, and received six Oscar nominations, and has a star on the Hollywood Walk of Fame.
Similar albums: Laurie Johnson: Avengers/Luis Bacalov: The Postman (Il Postino)/John Barry: On Her Majesty's Secret Service/Roy Budd: Tomorrow Never Comes
♠♠♠ For the first time on CD (with four bonus tracks), the imaginary soundtrack which Lalo Schifrin might have written for Luis Bunuel.
♠♠♠ Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There’s a Whole Lalo Schifrin Goin’ On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa’s more thoughtful efforts.
♠♠♠ Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in “Hawks Vs. Doves,” in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other. Elsewhere, Schifrin uses unusual percussion, dissonance, and tense, sonically fragmented piano to create soundscapes that are unlike most of the rest of his work. “Secret Code” integrates tabla drums, not a common instrument in American jazz of the time, with a cold, flute-like synthesizer — probably the first time those two instruments were used together. This album was ahead of its time in terms of instrumentation, but was a product of its time in that established ways of doing things were being challenged. Fans of Lalo Schifrin’s work will find this to rank with his best, and those not familiar with anything but the Mission Impossible theme will be drawn in further by the eccentric genius displayed here.
♠♠♠ “This album,” says Lalo today, “was a rather absurd writing-challenge, like self-provocation as a composer. I asked myself what would have happened if Luis Bunuel had been writing music. Would he have been capable of finding notes that were equivalent to Surrealism?”
♠♠♠ Completed by a few other Schifrin gems from the Universal archives, this album is the zaniest work ever recorded by the Argentinean master, the soundtrack to an imaginary film revered by a nucleus of faithful fans around the world. “Don’t listen seriously to this album,” he sums up, “the whole thing’s a gag, a musical satire like an extravagant plunge into Surrealism.”
_______________________________________________________________
Review by Richard Foss; Score: ****
♠♠♠ Though it may seem unlikely that Frank Zappa had much of an influence on the work of Lalo Schifrin, one can detect some cultural crossover on There's a Whole Lalo Schifrin Goin' On. Schifrin was as much a jazz-pop genius as ever, but on this album rock rhythms, musical satire, sound effects, and exotica are all used as camp in a way that is eerily reminiscent of Zappa's more thoughtful efforts. Schifrin being Schifrin, every cut has a distinct and catchy melody, but there are whimsical and satirical themes embedded in the music. Nowhere is this more obvious than in "Hawks Vs. Doves," in which a cheery carnival-like theme is played in counterpoint to a martial air, each interfering with the other. Elsewhere, Schifrin uses unusual percussion, dissonance, and tense, sonically fragmented piano to create soundscapes that are unlike most of the rest of his work. "Secret Code" integrates tabla drums, not a common instrument in American jazz of the time, with a cold, flute-like synthesizer — probably the first time those two instruments were used together. This album was ahead of its time in terms of instrumentation, but was a product of its time in that established ways of doing things were being challenged. Fans of Lalo Schifrin's work will find this to rank with his best, and those not familiar with anything but the Mission Impossible theme will be drawn in further by the eccentric genius displayed here. Note: Like many of Schifrin's albums of the period, there is no listing of musicians on the album cover, so it is difficult to know who is responsible for the marvelous performances here, except for Schifrin's own contributions.
Website: http://www.schifrin.com/
Facebook: https://www.facebook.com/lalo.schifrin?fref=ts
_______________________________________________________________