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| Towering Toccata |
| Lalo Schifrin |
| első megjelenés éve: 1977 |
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| (2003)
[ + BONUS ]
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CD |
| 3.333 Ft
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| 1. | Towering Toccata
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| 2. | Frances' Theme
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| 3. | Macumba
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| 4. | Eagles in Love
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| 5. | King Kong
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| 6. | Most Wanted Theme
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| 7. | Midnight Woman
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| 8. | Roller Coaster
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Jazz
Lalo Schifrin - Adaptation, Arranger, Conductor, Keyboards
Anthony Jackson - Bass
Burt Collins - Trumpet
Eric Gale - Guitar
Gerry Niewood - Sax (Alto)
Jeremy Steig - Flute
Joe Farrell - Flute
John Blair
John Tropea - Guitar
Ralph MacDonald - Percussion
Ronnie Cuber - Sax (Baritone)
Sue Evans - Percussion
Urbie Green - Trombone
Will Lee - Bass
* Arnaldo DeSouteiro - Reissue Supervisor
* Creed Taylor - Producer
* Rudy Van Gelder - Engineer
* Susumu Morikawa - Reissue Producer
After scoring an unexpected high-profile success with the discojazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat. Other notable moments on this album include "Most Wanted Theme," which is transformed from action-show theme music into a symphonic funk workout, and "Rollercoaster," a funky vamp from the Schifrin soundtrack of the same name that is ideally suited for Towering Toccata's discojazz mindset. There is even another monster-movie theme cover in the vein of the previous album's "Jaws"; this time, it's a disco-friendly treatment of John Barry's "Theme From King Kong" that layers atmospheric horn and flute lines over a bottom-heavy rhythm section fueled by wah-wah guitar and synth bass. However, other tracks on Towering Toccata fail to be as distinctive or adventurous as these highlights. For instance, the original tunes ("Macumba," "Midnight Woman") fit the album's mood but are lacking strong hooks and memorable twists in their arrangements that distinguished the originals on Black Widow. This problem of inconsistent material, combined with the fact that the album is basically a stylistic carbon copy of its predecessor, means that it isn't the ideal follow-up to Black Widow that Schifrin fans might have hoped for. That said, the album has enough strong tunes and enough of a consistent sound to please hardcore Lalo Schifrin fans and anyone who loved Black Widow.
---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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