Contemporary Film Music: Investigating Cinema Narratives and Composition

 

 

The purpose of this book, through its very creation, is to strengthen the dialogue between practitioner and theorist. To that end, a film academic and musicologist have collaborated as editors on this book, which is in turn comprised of interviews with composers alongside complementary chapters that focus on a particular feature of the composer’s approach or style. These chapters are written by a fellow composer, musicologist, or film academic who specializes in that element of the composer’s output. In the interview portions of this book, six major film composers discuss their work from the early 1980s to the present day: Carter Burwell, Mychael Danna, Dario Marianelli, Rachel Portman, Zbigniew Preisner, and A.R. Rahman. The focus is on the practical considerations of film composition, the relationship each composer has with the moving image, narrative, technical considerations, personal motivations in composing, the relationships composers have with their directors, and their own creative processes. Contemporary Film Music also explores the contemporary influence of electronic music, issues surrounding the mixing of soundtracks, music theory, and the evolution of each composer’s musical voice.

 

Hitchcock's Ear: Music and the Director's Art

 

Music is an underexplored dimension in Hitchcock's works. Taking a different view from most works on Hitchcock, David Schroeder focuses on how an expanded definition of music influences Hitchcock's conception of cinema. The structure and rhythm of his films is an important addition to the critical literature on Hitchcock and our understanding of his films and approach to filmmaking.
Alfred Hitchcock liked to describe his work as a director in musical terms; for some of his films, it appears that he started with an underlying musical conception, and transformed that sense of music into visual images. The director's favorite scenes lacked dialogue, and they made their impact through a combination of non-verbal actions and music. For example, the waltz and the piano are used as powerful images in silent films, and this approach carries over into sound films. Looking at such films as Vertigo, Rear Window, and Shadow of a Doubt, Schroeder provides a unique look at the way that Hitchcock thought about cinema in musical terms.

John Williams's Film Music

 

John Williams is one of the most renowned film composers in history. He has penned unforgettable scores for Star Wars, the Indiana Jones series, E.T. the Extra-Terrestrial, Jaws, Superman, and countless other films. Fans flock to his many concerts, and with forty-nine Academy Award nominations as of 2014, he is the second-most Oscar-nominated person after Walt Disney. Yet despite such critical acclaim and prestige, this is the first book in English on Williams’s work and career.
            Combining accessible writing with thorough scholarship, and rigorous historical accounts with insightful readings, John Williams’s Film Music explores why Williams is so important to the history of film music. Beginning with an overview of music from Hollywood’s Golden Age (1933–58), Emilio Audissino traces the turning points of Williams’s career and articulates how he revived the classical Hollywood musical style. This book charts each landmark of this musical restoration, with special attention to the scores for Jaws and Star Wars, Williams’s work as conductor of the Boston Pops Orchestra, and a full film/music analysis of Raiders of the Lost Ark. The result is a precise, enlightening definition of Williams’s “neoclassicism” and a grounded demonstration of his lasting importance, for both his compositions and his historical role in restoring part of the Hollywood tradition.

 

amazon.com ...

 

Johnny Dankworth • The Criminal

The Hollywood Film Music Reader

 

A rich and informative look at the experiences of composers working under high pressure in the US film industry, The Hollywood Film Music Reader brings readers from film's earliest days to the modern blockbuster era. Beginning with the origins of movie music in the heyday of silent film, the book traces film music's progress through Hollywood's so-called Golden Age to changes in musical styles and working practices from the 1960s to the present. Also included are vivid first-hand accounts from composers such as George Antheil, Elmer Bernstein, Aaron Copland, Adolph Deutsch, Jerry Goldsmith, Bernard Herrmann, Henry Mancini, Thomas Newman, André Previn, David Raksin, Miklós Rózsa, Max Steiner, Dimitri Tiomkin, Franz Waxman, and John Williams, along with testimonies from composers working in animation and documentary film. The book concludes with a section of criticism and commentary, including an essay on film music by Sidney Lumet and Igor Stravinsky's provocative views on the
subject.

 

Understanding the Leitmotif: From Wagner to Hollywood Film Music

 

The musical leitmotif, having reached a point of particular forcefulness in the music of Richard Wagner, has remained a popular compositional device up to the present day. In this book, Matthew Bribitzer-Stull explores the background and development of the leitmotif, from Wagner to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series. Analyzing both concert music and film music, Bribitzer-Stull explains what the leitmotif is and establishes it as the union of two aspects: the thematic and the associative. He goes on to show that Wagner's Ring cycle provides a leitmotivic paradigm, a model from which we can learn to better understand the leitmotif across style periods. Arguing for a renewed interest in the artistic merit of the leitmotif, Bribitzer-Stull reveals how uniting meaning, memory, and emotion in music can lead to a richer listening experience and a better understanding of dramatic music's enduring appeal.

 

Reel Music: Exploring 100 Years of Film Music

 

Reel Music, revised for a new generation of movie lovers, tells the story of film music through iconic scenes. The Second Edition features more in-depth exploration of international films―from classics like Seven Samurai to more recent works like Run Lola Run―as well as new suggestions for activities and classroom discussion, and even more Viewer Guides, which show how film music functions moment-by-moment.

 

Massimo Farao • Music From American TV Shows

Massimo Farao' was born in Genoa in 1965, studied piano with Flavio Crivelli, a local jazz piano player, who also learned Dado Moroni to play, and played in as a young adult with the Nat Adderley Quintet. He moved to the States two years later and became the musical director of the Shawnn Monteiro Quartet with Keter Betts and Bobby Durham.

http://www.mymusicbase.ru/PPB/ppb36/Bio_3669.htm

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Massimo Farao' nació en Génova en 1965, estudió piano con Flavio Crivelli, un pianista de jazz local, que también aprendió Dado Moroni a tocar, y tocó de joven con el Nat Adderley Quintet. Se mudó a los Estados Unidos dos años después y se convirtió en el director musical del Cuarteto Shawnn Monteiro con Keter Betts y Bobby Durham.
http://www.mymusicbase.ru/PPB/ppb36/Bio_3669.htm

Mundell Lowe • Small Screen Action

Biography

A reliable cool-toned guitarist who was on many sessions through the years despite never becoming a household name, Mundell Lowe picked up early experience during 1936-1940 playing Dixieland in New Orleans and country music in Nashville. He toured with Jan Savitt (1942), Ray McKinley (1945-1947), Mary Lou Williams (1947-1949), Red Norvo, and Ellis Larkins. In 1950, he became a staff musician at NBC, although he always played jazz on the side. Lowe was with the Sauter-Finegan Orchestra (1952-1953), worked with Benny Goodman on an occasional basis, and recorded as a leader for RCA, Riverside, Camden, and Charlie Parker Records. In 1965, Lowe moved to California and worked as a composer for films and television, teaching film composition during 1979-1985. He played locally in Los Angeles, often with Richie Kamuca and Benny Carter. Mundell Lowe (who is married to singer Betty Bennett) recorded sets for Famous Door (1974), Dobre (1976), and Jazz Alliance (1992). ~ Scott Yanow

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Biografía

Un guitarrista confiable de tono frío que estuvo en muchas sesiones a través de los años a pesar de que nunca se convirtió en un nombre familiar, Mundell Lowe adquirió una experiencia temprana durante 1936-1940 tocando Dixieland en Nueva Orleans y música country en Nashville. Realizó giras con Jan Savitt (1942), Ray McKinley (1945-1947), Mary Lou Williams (1947-1949), Red Norvo y Ellis Larkins. En 1950, se convirtió en músico de plantilla en la NBC, aunque siempre tocó jazz por su cuenta. Lowe estuvo con la Orquesta Sauter-Finegan (1952-1953), trabajó con Benny Goodman ocasionalmente y grabó como líder para RCA, Riverside, Camden y Charlie Parker Records. En 1965, Lowe se mudó a California y trabajó como compositor para películas y televisión, enseñando composición de películas durante 1979-1985. Tocó localmente en Los Ángeles, a menudo con Richie Kamuca y Benny Carter. Mundell Lowe (que está casado con la cantante Betty Bennett) grabó sets para Famous Door (1974), Dobre (1976) y Jazz Alliance (1992). ~ Scott Yanow

Stereophonic Space Sound Unlimited • Music From The 6th Floor

 

 

Stereophonic Space Sound Unlimited are a Swiss instrumental band on the Dionysus Records label. They have released several albums. Their work has been used in American television shows such as The Chris Isaak Show, and they have created film soundtracks featuring their distinctive sound.

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Stereophonic Space Sound Unlimited es una banda instrumental suiza del sello Dionysus Records. Han publicado varios álbumes. Su trabajo ha sido utilizado en programas de televisión americanos como The Chris Isaak Show, y han creado bandas sonoras de películas con su sonido distintivo.

 

 

www.stereophonic-space-sound-unlimited ...

 

 

 

Hugo Montenegro & His Orchestra • Come Spy With Me

Biography

Hugo Montenegro was a composer, arranger, and conductor who is primarily known for his movie work in the '60s, as well as his adaptations of film scores like The Good, the Bad and the Ugly. Montenegro began his musical career in the U.S. Navy, where he arranged scores for various military bands. After he left the Navy, he completed school at Manhattan College, then he began a professional music career.

Initially, Montenegro was the staff manager to André Kostelanetz at Columbia Records in New York, which eventually led to a job as a conductor/arranger for several of the label's artists, most notably Harry Belafonte. By the mid-'50s, Montenegro was making his own albums of easy listening orchestral music.

Montenegro moved to California in the mid-'60s and began to write film scores, starting with Otto Preminger's Hurry Sundown in 1967. That same year, he recorded a version of the theme to The Good, the Bad and the Ugly, which was written by Ennio Morricone. Featuring an arrangement that relied on a chorus, electric instruments, and special effects, the single was a major hit, reaching number one in the U.K. and number two in the U.S.; internationally, it sold over a million copies. An album titled Music from "The Good, the Bad and the Ugly" & "A Fistful of Dollars" & "For a Few Dollars More" appeared shortly after the single's release, and it reached the Top Ten in the spring 1968. Later in the year, Montenegro released a single of the theme from Hang 'Em High, which was a lesser hit, as was the album of the same name.

Montenegro began to branch out after the Hang 'Em High album, recording a diverse array of albums, ranging from show tunes to electronic experiments. Throughout the late '60s and '70s, he continued to score films, including Lady in Cement, The Undefeated, The Wrecking Crew, Tomorrow, and The Ambushers, among many others. He continued composing and recording until his death in 1981.

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Biografía

Hugo Montenegro fue un compositor, arreglista y director de orquesta conocido principalmente por su trabajo en películas de los 60, así como por sus adaptaciones de partituras de películas como El bueno, el malo y el feo. Montenegro comenzó su carrera musical en la Marina de los EE.UU., donde arregló partituras para varias bandas militares. Después de dejar la Marina, completó la escuela en el Manhattan College, y luego comenzó una carrera musical profesional.

Inicialmente, Montenegro fue el gerente de personal de André Kostelanetz en Columbia Records en Nueva York, lo que eventualmente llevó a un trabajo como director/arreglista para varios de los artistas del sello, más notablemente Harry Belafonte. A mediados de los 50, Montenegro estaba haciendo sus propios álbumes de música orquestal de fácil escucha.

Montenegro se mudó a California a mediados de los 60 y empezó a escribir partituras para películas, empezando con "Hurry Sundown" de Otto Preminger en 1967. Ese mismo año, grabó una versión del tema de El bueno, el malo y el feo, escrito por Ennio Morricone. Con un arreglo que se basaba en un coro, instrumentos eléctricos y efectos especiales, el sencillo fue un gran éxito, llegando al número uno en el Reino Unido y al número dos en los Estados Unidos; internacionalmente, vendió más de un millón de copias. Un álbum titulado Music from "The Good, the Bad and the Ugly" & "A Fistful of Dollars" & "For a Few Dollars More" apareció poco después del lanzamiento del single, y llegó al Top Ten en la primavera de 1968. Más tarde ese año, Montenegro lanzó un single del tema de Hang 'Em High, que fue un éxito menor, al igual que el álbum del mismo nombre.

Montenegro comenzó a diversificarse después del álbum Hang 'Em High, grabando una gran variedad de álbumes, desde temas de espectáculos hasta experimentos electrónicos. A lo largo de los años 60 y 70, continuó componiendo películas, incluyendo Lady in Cement, The Undefeated, The Wrecking Crew, Tomorrow, y The Ambushers, entre muchas otras. Continuó componiendo y grabando hasta su muerte en 1981.

The Film Music of John Williams: Reviving Hollywood's Classical Style

 

From the triumphant “Main Title” in Star Wars to the ominous bass line of Jaws, John Williams has penned some of the most unforgettable film scores—while netting more than fifty Academy Award nominations. This updated and revised edition of Emilio Audissino’s groundbreaking volume takes stock of Williams’s creative process and achievements in music composition, including the most recent sequels in the film franchises that made him famous. Audissino discusses Williams’s unique approach to writing by examining his neoclassical style in context, demonstrating how he revived and revised classical Hollywood music. This volume details Williams’s lasting impact on the industry and cements his legacy as one of the most important composers in movie history. A must for fans and film-music lovers alike. 

 

 

Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema

 

 

Hollywood's conversion from silent to synchronized sound film production not only instigated the convergence of the film and music industries but also gave rise to an extraordinary period of songs in American cinema. Saying It With Songs considers how the increasing interdependence of Hollywood studios and Tin Pan Alley music publishing firms influenced the commercial and narrative functions of popular songs. While most scholarship on film music of the period focuses on adaptations of Broadway musicals, this book examines the functions of songs in a variety of non-musical genres, including melodramas, romantic comedies, Westerns, prison dramas, and action-adventure films, and shows how filmmakers tested and refined their approach to songs in order to reconcile the spectacle of song performance, the classical norms of storytelling, and the conventions of background orchestral scoring from the period of silent cinema. Written for film and music scholars alike as well as for general readers, Saying It With Songs illuminates the origins of the popular song score aesthetic of American cinema.

 
Katherine Spring (Author)

Xavier Cugat & His Orchestra • Movie Classics

 

  

VA • Secret Agent File

 

Ennio Morricone • Western Music Collection Vols 1/2

 

   

www.enniomorricone.org ...

VA • Casino Royale - OST

 

Editorial Review:
In 1953, British author Ian Fleming created one of the most enduring cinematic characters with the publication of his first 007 novel, Casino Royale. Thirteen years later, producer Charles K. Feldman (of What's New Pussycat? fame) reimagined Fleming's story as a large-scale, star-studded spy spoof inspired by the Bond mania that swept across the world in the 1960s. While not exactly delivering the kind of James Bond films audiences had loved and come to expect, Casino Royale has became a cult classic in the ensuing decades, a colorful addendum to the history of the 007 legacy. With an all-star cast that included David Niven, Deborah Kerr, John Huston, Woody Allen, Peter Sellers, cameos by Jean-Paul Belmondo, David McCallum, and Peter O'Toole, and even featuring an authentic Bond girl, Ursula Andress (from Dr. No), the rag-tag craziness on view was directed by several different directors—John Huston, Joseph McGrath, Robert Parrish, with Val Guest overseeing the entire production. As would be expected, the end result was eclectic, sometimes very funny, and sometimes just plain weird.

One person who immensely helped tie the whole thing together was the brilliant Burt Bacharach, who provided one of the most popular and universally applauded features of Casino Royale: its musical score. Hired on the strength of his music for What's New Pussycat?, the composer was expected to bring the same kind of cheek to Feldman's latest picture, offering a colorful kaleidoscope that went on to define the Swingin' Sixties without referencing the typical musical spy vernacular. In fact, Bacharach's approach is much closer to the Henry Mancini/Blake Edwards song scores such as The Pink Panther or The Party, which may explain the soundtrack's extraordinary success on its own. The score was nominated for a Grammy and "The Look of Love" received an Oscar nomination. Bacharach had, of course, had countless hits by the time of this film, and would go on to have countless more (one of the only pop song composers to have hits in every decade since the 1950s), as well as providing the soundtracks to Butch Cassidy and the Sundance Kid, Arthur, and many other films.

This is the third CD release for Casino Royale (although both releases on Varese Sarabande were pretty much identical)—the original LP has long been considered one of the great audiophile releases, thanks to a nod in The Absolute Sound. But due to an unfortunate accident, just prior to the transfer of the master tape, the tape was rewound too quickly and stripped of iron oxide, thereby compromising and damaging the tape. The transfer could still be made and the CD came out—but anyone expecting it to sound like the LP was disappointed, and for obvious reasons.

For this release, we have spent much time in trying to alleviate some of the effects of the tape damage—our mastering engineer, James Nelson, has painstakingly and lovingly repaired numerous dropouts and other anomalies and we've worked very hard to get this to sound as good as it ever has or will, and the result is pretty amazing.

We've also added three short bonus cues, available on CD for the first time, including the original end credits vocal. And, of course, we get the great performances of Dusty Springfield and Herb Alpert and The Tijuana Brass.

But one of the main reasons for doing this third CD release was to offer as a bonus a straight transfer of that original record—done from several pristine copies of the LP—so that the original sound, with no additional processing or EQ, is captured on CD for the very first time. We leave it for others to judge whether that sound holds up for today's listeners. Given what happened to the master tape, this is as close to that original LP sound as we're ever going to get.
https://www.soundtrack.net/album/casino-royale-special-reissue/

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Reseña editorial:
En 1953, el escritor británico Ian Fleming creó uno de los personajes cinematográficos más perdurables con la publicación de su primera novela sobre 007, Casino Royale. Trece años después, el productor Charles K. Feldman (de What's New Pussycat?) reimaginó la historia de Fleming como una parodia de espionaje a gran escala, repleta de estrellas e inspirada en la manía por Bond que recorrió el mundo en la década de 1960. Aunque no era exactamente el tipo de película de James Bond que el público esperaba y adoraba, Casino Royale se convirtió en un clásico de culto en las décadas posteriores, un colorido añadido a la historia del legado de 007. Con un reparto de estrellas que incluía a David Niven, Deborah Kerr, John Huston, Woody Allen, Peter Sellers, cameos de Jean-Paul Belmondo, David McCallum y Peter O'Toole, e incluso una auténtica chica Bond, Ursula Andress (del Dr. No), la locura que se vio fue dirigida por varios directores: John Huston, Joseph McGrath, Robert Parrish, y Val Guest supervisó toda la producción. Como era de esperar, el resultado final fue ecléctico, a veces muy divertido y otras simplemente extraño.

Una persona que ayudó enormemente a cohesionar todo el conjunto fue el genial Burt Bacharach, que proporcionó una de las características más populares y universalmente aplaudidas de Casino Royale: su partitura musical. Contratado por su música para What's New Pussycat?, se esperaba que el compositor aportara el mismo descaro a la última película de Feldman, ofreciendo un colorido caleidoscopio que definiera los Swingin' Sixties sin hacer referencia al típico lenguaje musical de espías. De hecho, el enfoque de Bacharach está mucho más cerca de las partituras de canciones de Henry Mancini/Blake Edwards como La Pantera Rosa o The Party, lo que puede explicar el extraordinario éxito de la banda sonora por sí sola. La partitura fue nominada a un Grammy y "The Look of Love" recibió una nominación al Oscar. Bacharach, por supuesto, ya había cosechado innumerables éxitos en la época de esta película, y seguiría cosechando innumerables más (uno de los únicos compositores de canciones pop que ha cosechado éxitos en cada década desde los años 50), además de proporcionar las bandas sonoras de Butch Cassidy and the Sundance Kid, Arthur y muchas otras películas.

Esta es la tercera edición en CD de Casino Royale (aunque las dos ediciones en Varese Sarabande eran prácticamente idénticas); el LP original se ha considerado durante mucho tiempo una de las grandes ediciones para audiófilos, gracias a una mención en The Absolute Sound. Pero debido a un desafortunado accidente, justo antes de la transferencia de la cinta maestra, la cinta se rebobinó demasiado rápido y se despojó del óxido de hierro, comprometiendo y dañando la cinta. La transferencia pudo hacerse y el CD salió a la luz, pero quien esperara que sonara como el LP se llevó una decepción, y por razones obvias.

Para esta edición, hemos dedicado mucho tiempo a intentar paliar algunos de los efectos de los daños de la cinta: nuestro ingeniero de masterización, James Nelson, ha reparado con esmero y cariño numerosas pérdidas de calidad y otras anomalías, y hemos trabajado muy duro para conseguir que suene lo mejor posible, y el resultado es asombroso.

También hemos añadido tres breves cortes adicionales, disponibles por primera vez en CD, incluida la voz original de los créditos finales. Y, por supuesto, tenemos las magníficas actuaciones de Dusty Springfield y Herb Alpert and The Tijuana Brass.

Pero una de las principales razones para realizar esta tercera edición en CD fue ofrecer como extra una transferencia directa del disco original -realizada a partir de varias copias prístinas del LP-, de modo que el sonido original, sin procesamiento ni ecualización adicionales, se captura en CD por primera vez. Dejamos que otros juzguen si ese sonido se mantiene para los oyentes de hoy. Teniendo en cuenta lo que le ocurrió a la cinta original, esto es lo más parecido al sonido original del LP que vamos a conseguir nunca.
https://www.soundtrack.net/album/casino-royale-special-reissue/

Roberto Pregadio • Il Medico ... La Studentessa

 

"In the 1976 comedy 'Il medico... la studentessa,' medical student Claudia navigates a series of comedic sexual entanglements with various men. The film features a lively soundtrack by composer Roberto Pregadio."

Roberto Pregadio:
Pianist and composer, born 6. Dec 1928 in Catania, Italy; died 15. Nov. 2010 in Rome, Italy.

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En la comedia de 1976 «Il medico... la studentessa», la estudiante de medicina Claudia vive una serie de cómicos enredos sexuales con varios hombres. La película cuenta con una animada banda sonora del compositor Roberto Pregadio».

Roberto Pregadio:
Pianista y compositor, nacido el 6. Dic 1928 en Catania, Italia; fallecido el 15. Nov. 2010 en Roma, Italia.

Hugo Montenegro • Scenes & Themes

Biography by Stephen Thomas Erlewine

Hugo Montenegro was a composer, arranger, and conductor who is primarily known for his movie work in the '60s, as well as his adaptations of film scores like The Good, the Bad and the Ugly. Montenegro began his musical career in the U.S. Navy, where he arranged scores for various military bands. After he left the Navy, he completed school at Manhattan College, then he began a professional music career.

Initially, Montenegro was the staff manager to André Kostelanetz at Columbia Records in New York, which eventually led to a job as a conductor/arranger for several of the label's artists, most notably Harry Belafonte. By the mid-'50s, Montenegro was making his own albums of easy listening orchestral music.

Montenegro moved to California in the mid-'60s and began to write film scores, starting with Otto Preminger's Hurry Sundown in 1967. That same year, he recorded a version of the theme to The Good, the Bad and the Ugly, which was written by Ennio Morricone. Featuring an arrangement that relied on a chorus, electric instruments, and special effects, the single was a major hit, reaching number one in the U.K. and number two in the U.S.; internationally, it sold over a million copies. An album titled Music from "The Good, the Bad and the Ugly" & "A Fistful of Dollars" & "For a Few Dollars More" appeared shortly after the single's release, and it reached the Top Ten in the spring 1968. Later in the year, Montenegro released a single of the theme from Hang 'Em High, which was a lesser hit, as was the album of the same name.

Montenegro began to branch out after the Hang 'Em High album, recording a diverse array of albums, ranging from show tunes to electronic experiments. Throughout the late '60s and '70s, he continued to score films, including Lady in Cement, The Undefeated, The Wrecking Crew, Tomorrow, and The Ambushers, among many others. He continued composing and recording until his death in 1981.

https://www.allmusic.com/artist/hugo-montenegro-mn0000227352/biography

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Biografía de Stephen Thomas Erlewine

Hugo Montenegro fue un compositor, arreglista y director de orquesta conocido principalmente por su trabajo en películas de los 60, así como por sus adaptaciones de partituras de películas como El bueno, el malo y el feo. Montenegro comenzó su carrera musical en la Marina de los EE.UU., donde arregló partituras para varias bandas militares. Después de dejar la Marina, completó la escuela en el Manhattan College, y luego comenzó una carrera musical profesional.

Inicialmente, Montenegro fue el gerente de personal de André Kostelanetz en Columbia Records en Nueva York, lo que eventualmente llevó a un trabajo como director/arreglista para varios de los artistas del sello, más notablemente Harry Belafonte. A mediados de los 50, Montenegro estaba haciendo sus propios álbumes de música orquestal de fácil escucha.

Montenegro se mudó a California a mediados de los 60 y empezó a escribir partituras para películas, empezando con "Hurry Sundown" de Otto Preminger en 1967. Ese mismo año, grabó una versión del tema de El bueno, el malo y el feo, escrito por Ennio Morricone. Con un arreglo que se basaba en un coro, instrumentos eléctricos y efectos especiales, el sencillo fue un gran éxito, llegando al número uno en el Reino Unido y al número dos en los Estados Unidos; internacionalmente, vendió más de un millón de copias. Un álbum titulado Music from "The Good, the Bad and the Ugly" & "A Fistful of Dollars" & "For a Few Dollars More" apareció poco después del lanzamiento del single, y llegó al Top Ten en la primavera de 1968. Más tarde ese año, Montenegro lanzó un single del tema de Hang 'Em High, que fue un éxito menor, al igual que el álbum del mismo nombre.

Montenegro comenzó a diversificarse después del álbum Hang 'Em High, grabando una gran variedad de álbumes, desde temas de espectáculos hasta experimentos electrónicos. A lo largo de los años 60 y 70, continuó componiendo películas, incluyendo Lady in Cement, The Undefeated, The Wrecking Crew, Tomorrow, y The Ambushers, entre muchas otras. Continuó componiendo y grabando hasta su muerte en 1981.

https://www.allmusic.com/artist/hugo-montenegro-mn0000227352/biography

Lalo Schifrin • Bullitt - Score

 

FSM presents one of the most quintessentially “cool” soundtracks ever: Lalo Schifrin’s score for the classic urban crime drama, Bullitt (1968). The film stars Steve McQueen as San Francisco police detective Frank Bullitt, caught up with protecting a Chicago mobster from vengeful Mafia hit-men while dealing with an ambitious, sleazy politician portrayed by Robert Vaughn. With its riveting story, realistic settings, taut screenplay and quasi-documentary cinematography, it brought a new depth to McQueen’s portrayal of tough characters (this one on the right side of the law).
An essential part of the film’s success was its economical, nervous jazz score; the Argentinean-born, classically trained Schifrin was then at the height of the fame generated by his iconic Mission: Impossible television theme. The film is judiciously spotted, with relatively little “action” music (the famous car chase is unscored) but several atmospheric and evocative source cues. Schifrin himself described it as “very simple” and “completely based on the blues.”
Shortly after recording the film soundtrack, Schifrin led a separate recording for a Warner Bros. Records album. Jazz greats featured in those sessions include Bud Shank (flute), Ray Brown (bass), Howard Roberts (guitar) and Larry Bunker (drums). FSM presents the first U.S. release of that album on this CD, newly mixed by Mike Matessino from the original 1" eight-track master tape.
The CD also includes the never-before-released complete film soundtrack itself, recorded at the Warner Bros. scoring stage in Burbank by legendary engineer Dan Wallin. These tracks have been newly mixed and mastered from ½” three-track tape stored at the studio. While some score passages and cues are virtually identical to the record album, many of the film soundtrack’s softer, moodier cues were not chosen for the LP—or had certain passages rewritten. And some were dropped from the film itself, so have never been heard before by the public—until now.
The booklet includes a perceptive, in-depth essay on the film and its score by John Bender and detailed track-by-track commentary by Alexander Kaplan. Bullitt is an essential purchase for any “cool” soundtrack collection (or collector), and adds one more title to FSM’s expanding catalog of scores by a living legend of film music.
https://www.filmscoremonthly.com/cds/detail.cfm/CDID/439/Bullitt/

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FSM presenta una de las bandas sonoras más «cool» de la historia: La banda sonora de Lalo Schifrin para el clásico del crimen urbano Bullitt (1968). La película está protagonizada por Steve McQueen en el papel del detective de la policía de San Francisco Frank Bullitt, que se ve obligado a proteger a un mafioso de Chicago de los vengativos asesinos a sueldo de la Mafia, al tiempo que trata con un ambicioso y sórdido político interpretado por Robert Vaughn. Con una historia fascinante, escenarios realistas, un guión tenso y una fotografía casi documental, la película aportó una nueva profundidad al retrato de McQueen de personajes duros (en este caso en el lado correcto de la ley).
Una parte esencial del éxito de la película fue su económica y nerviosa partitura de jazz; Schifrin, nacido en Argentina y de formación clásica, estaba entonces en la cima de la fama generada por su icónico tema para televisión de Mission: Imposible. La película cuenta con una música de acción relativamente escasa (la famosa persecución en coche no tiene banda sonora), pero sí con varios temas atmosféricos y evocadores. El propio Schifrin la describió como «muy sencilla» y «completamente basada en el blues».
Poco después de grabar la banda sonora de la película, Schifrin dirigió otra grabación para un álbum de Warner Bros. Records. Entre los grandes del jazz que participaron en esas sesiones figuran Bud Shank (flauta), Ray Brown (bajo), Howard Roberts (guitarra) y Larry Bunker (batería). FSM presenta la primera edición estadounidense de ese álbum en este CD, recién mezclado por Mike Matessino a partir de la cinta original de ocho pistas de 1».
El CD también incluye la inédita banda sonora completa de la película, grabada en el estudio de grabación de Warner Bros. en Burbank por el legendario ingeniero Dan Wallin. Estas pistas se han mezclado y masterizado a partir de una cinta de tres pistas de ½» almacenada en el estudio. Aunque algunos pasajes de la partitura son prácticamente idénticos a los del disco, muchos de los pasajes más suaves y melancólicos de la banda sonora de la película no se eligieron para el LP, o algunos pasajes se reescribieron. Y algunos se eliminaron de la propia película, por lo que nunca habían sido escuchados por el público, hasta ahora.
El libreto incluye un perspicaz y profundo ensayo sobre la película y su partitura, escrito por John Bender, y un detallado comentario pista por pista, escrito por Alexander Kaplan. Bullitt es una compra esencial para cualquier colección (o coleccionista) de bandas sonoras «cool», y añade un título más al creciente catálogo de FSM de partituras de una leyenda viva de la música de cine.
https://www.filmscoremonthly.com/cds/detail.cfm/CDID/439/Bullitt/

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