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| Black Widow |
| Lalo Schifrin |
| első megjelenés éve: 1976 |
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| (2014)
[ + BONUS ]
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CD |
| 3.324 Ft
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| 1. | Black Widow
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| 2. | Flamingo
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| 3. | Quiet Village
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| 4. | Moonglow/Theme from "Picnic"
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| 5. | Jaws
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| 6. | Baia
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| 7. | Turning Point
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| 8. | Dragonfly
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| 9. | Frenesi
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| 10. | Tabú
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| 11. | Baia [Alternate Take]
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| 12. | Con Alma
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Jazz
Recorded at MediaSound Studios, March 29-30, 1976.
Lalo Schifrin - Arranger, Conductor, Keyboards
Andy Newmark - Drums
Anthony Jackson - Bass
Barry Rogers - Trombone
Carlos Martin - Conga
Carter Collins - Percussion
Charles Libove - Violin
Clark Spangler - Keyboards
David Nadien - Violin
Don Alias - Conga, Percussion
Emanuel Green - Violin
Eric Gale - Guitar
George Marge - Flute
Harold Kahon - Violin
Harry Lookofsky - Violin
Hubert Laws - Flute
Jerry Friedman - Guitar
Joe Farrell - Flute, Sax (Alto)
John Tropea - Guitar
Jon Faddis - Trumpet
Matthew Raimondi - Violin
Max Ellen
Patti Austin - Vocals, Vocals (Background)
Paul Gershman - Violin
Pepper Adams - Sax (Baritone)
Sue Evans - Percussion
Wayne Andre - Trombone
* Creed Taylor - Producer
* Didier C. Deutsch - Reissue Producer
* Helene Silverman - Design
* Joe Jorgensen - Engineer
* Matt Murray - Assistant Engineer
* Rene Arsenault - Assistant Producer
* Seth Rothstein - Project Director
* Steve Futterman - Liner Notes
* Tom "Curly" Ruff - Mastering
* Tony Martell - Executive Producer
Although he is best-known for film scores like Bullitt and Enter The Dragon, prolific composer Lalo Schifrin has always maintained a side career as a jazz musician. He racked up a massive success in this field in 1976 with Black Widow, a slick instrumental excursion that combined the musical dexterity of jazz with the dance-friendly rhythms of disco. This album found Schifrin turning his skills as an arranger and keyboardist to a set of material that matched up some unlikely but effective covers with a few originals. Highlights among the covers include "Quiet Village," which transforms the exotica classic into a slow-burning funk vamp dressed with plenty of spacey synthesizer, and "Moonglow & Theme From Picnic," which reworks these classic film themes by giving them keyboard-driven arrangements that are gently nudged along by an insistent beat. Black Widow also spawned a dancefloor hit with Schifrin's imaginative reworking of "Jaws," which transformed John Williams' spooky monster-movie theme into an ominous, percolating slice of nocturnal funk built on wah-wah guitar and Schifrin's elegantly jazzy keyboard excursions. In terms of the original tunes, the standout is the title track, a keyboard showcase that weaves surging strings around a funky bass groove that is fleshed out with all manner of synth and electric piano shadings. The strong disco edge to the proceedings may turn off jazz purists, but Schifrin's imaginative and stylish arrangements keep the music from succumbing to disco-beat boredom, and his expert backup band (including session stalwarts like Andy Newmark and John Tropea) attacks the material with energy and style to burn. The end result is one of the peak albums in Lalo Schifrin's lengthy catalogue and a necessity for anyone interested in his jazz work.
--- Donald A. Guarisco, All Music Guide
Lalo Schifrin
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jun 21, 1932 in Buenos Aires, Argentina
Genre: Jazz
Styles: Bop, Film Music, Original Score, Soundtracks, Spy Music
Best known for his "Mission: Impossible" theme song, Lalo Schifrin is an Argentinean-born composer, arranger, pianist, and conductor, whose jazz and classical training earned him tremendous success as a soundtrack composer. Born Boris Claudio Schifrin in Buenos Aires on June 21, 1932, his father was a symphonic violinist, and he began playing piano at age six. He enrolled in the Paris Conservatoire in 1952, hitting the jazz scene by night. After returning to Buenos Aires, Schifrin formed a 16-piece jazz orchestra, which helped him meet Dizzy Gillespie in 1956. Schifrin offered to write Gillespie an extended suite, completing the five-movement Gillespiana in 1958; the same year, he became an arranger for Xavier Cugat. In 1960, he moved to New York City and joined Gillespie's quintet, which recorded "Gillespiana" to much general acclaim. Schifrin became Gillespie's musical director until 1962, contributing another suite in "The New Continent"; he subsequently departed to concentrate on his writing. He also recorded as a leader, most often in Latin jazz and bossa nova settings, and accepted his first film-scoring assignment in 1963 (for Rhino!). Schifrin moved to Hollywood late that year, scoring major successes with his indelible themes to Mission: Impossible and Mannix. Over the next decade, Schifrin would score films like The Cincinnati Kid, Bullitt, Cool Hand Luke, Dirty Harry, and Enter the Dragon. As a jazzer, he wrote the well-received "Jazz Mass" suite in 1965, and delved into stylish jazz-funk with 1975's CTI album Black Widow. Schifrin continued his film work all the way through the '90s; during that decade, he recorded a series of orchestral jazz albums called Jazz Meets the Symphony, and became the principal arranger for the Three Tenors, which complemented his now-dominant interest in composing classical music.
--- Steve Huey, All Music Guide |
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