Lalo Schifrin: Intégrale 1955-1962, Jazz And Bossa Nova
Lalo Schifrin (1932–2025) composed some of the most memorable film and television music of our age. A look through his soundtrack albums from the 60s and 70s alone is to see the definition of cool as expressed in music. Mission: Impossible, The Man From UNCLE, Bullitt, a raft of soundtracks for Clint Eastwood films, the list is almost endless, the themes instantly recognisable. Reading the notes for this comprehensive collection of Schifrin’s early work, it is interesting to note that his theme for The Exorcist was not selected by the film’s director William Friedkin because in screen tests the audience found it too stressful.
With this retrospective released by Frémeaux we are a long way from Schifrin’s later, hugely successful commercial work, but there are many moments of good jazz soloing. Presented across three CDs with 65 tracks, the collection pulls together Schifrin’s earliest recordings as pianist and arranger. A lot of the material is available to stream from the original albums, many of which had run times of just over 35 minutes, something that must have left LP buyers feeling a bit short-changed at the time, back in the early 60s. Short, snappy and full of swing, there are hints of the sound that was to later define Schifrin’s film and television themes, but the material is decidedly middle of the road. Looking through the playlist, there is plenty here that was made popular later in the 60s by the likes of James Last and big-selling German organist Klaus Wunderlich.
These early albums ride the wave of popularity that Brazilian music enjoyed during the late 50s and early 60s, but there is nothing here to really indicate the direction Schifrin was to take, using orchestra, dynamic bass and tensely atmospheric string arrangements to make such effective film and television music. That said, a couple of bossa novas tracks at the end of the third CD, done with Quincy Jones, do hint at the sound textures and arrangements he would develop.
Massive collections like this are often a mixed blessing. This one is interesting to dip into, and certainly something which Schifrin completists will want to give serious consideration. For the rest of us, listening to the sheer volume of tracks from start to finish might prove to be mission impossible.
Discography
CD1: Moulin Rouge; Les Oignons; Fascination; Cabello Rojo; Mon Homme; Mambop; Pigalle; Sérénade Méditerranéenne; Spectrum; Red Sails In The Sunset; Azure; The Moon Was Yellow; Ruby; Black Beauty; When The Wind Was Green; Brown Prelude; White Orchids; Blue Is The Night; Scarlet Ribbons (For Her Hair); Purple Pastel (57.35)
CD2: Frenesi; The Breeze And I; Capricho Español; My Shawl; Caravan; Malaguena; Cha Cha Cha Flamenco; Warsaw Concerto; Hulablues; Jungle Fantasy; All The Things You Are; El Cumbanchero; The Snake’s Dance; An Evening In Sao Paulo; Desafinado; Kush; Rhythm-A-Ning; Mount Olive; Cubano Be; Sphayros (66.03)
CD 3: Boato; Chora Tua Tristeza; Poema Do Adeus; Apito No Samba; Chega De Saudade; Bossa Em Nova York; O Amor E A Rosa; O Menino Desce O Morro; Menina Feia; Ouca; Samba De Uma Nota So; Patinho Feio (Ugly Duckling); The Wave; Insensatez; You And Me (Voce E Eu); Lalo’s Bossa Nova (Samba Para Dos); Silvia; Murmurio (Murmur); Maria; Rapaz De Bem; Samba No Perroquet (Parrot Samba); Rio After Dark; Time For Love; I’m Looking Over A Four Leave Clover; Soul Bossa Nova; Lalo Bossa Nova (71.05)
Schifrin (p, arr) with many others. Various locations, 1955–1962.
Frémeaux & Associés FA5905
Dave McMurray: I Love Life Even When I’m Hurting
On his album Mood Indigo, the late Frank Morgan ended the session with a simple message of gratitude for life. That sense of thanks for being alive, despite the challenges life can present, kicks off Dave McMurray’s new album. The honesty and directness of the musician talking to the listener made me connect these two unrelated albums as I listened to I Love Life Even When I’m Hurting.
Detroit native McMurray is both prolific and much in demand across many musical genres. His fluency and inventiveness on a range of saxophones and flute, combined with the shimmering funkiness of the rhythm section calls to mind the equally enjoyable performances of Dave Sanborn and Grover Washington Jr and the music they created. Funky, soulful and occasionally Latin in mood, the nine tracks offer plenty to enjoy, including material penned by McMurray, Al Jarreau, Yusef Lateef and members of The Grateful Dead. McMurray’s ability to switch from light, delicate playing on Lateef’s The Plum Blossom to full-throated, Coltrane-like drama on I Love Life Even When I’m Hurting and The Wheel shows his impressive versatility to good effect.
McMurray’s fellow musicians are impressive throughout but really shine on the hypnotic 7 Wishes 4 G. The combination of Canady’s drumming, Masai on percussion and bassist Don Was lays down an irresistible accompaniment for McMurray to soar and swoop over on tenor saxophone, You sense that they could have kept this energy up all day. To return to the sentiment in the title of the album, McMurray’s sleeve note includes the following message: “Sometimes it’s hard to find peace in this complex world. But there’s hope in each new day. Live. Don’t give up.” Frank Morgan would surely have approved.
Discography
This Life; The Jungaleers; Just A Thought; 7 Wishes 4 G; We Got By; The Plum Blossom; I Love Life Even When I’m Hurting; Find Your Peace; The Wheel (49.48)
McMurray (ts, ss, f, syn); Don Was, Ibrahim Jones (b); Luis Resto (kyb); Wayne Gerard (g); Jeff Canady (d); Mahindi Masai (pc); Kem, Herschel Boone (v). Rustbelt Studios, Michigan, 2025.
Blue Note Records 00602478638916
John Barry: Intégrale 1957-1962 – Rock ’n’ Roll, Jazz Et Musiques De Films
The sheer volume of material included in this John Barry retrospective makes it an overwhelming collection. Running to 90 tracks and almost three hours of listening, it’s surely not for the casual listener. As with the set above, featuring Lalo Schifrin, little emerges from these early recordings from John Barry that reveals the genius that bloomed later in his career. His reworking of Monty Norman’s theme for Dr No – the first James Bond film, released in 1962 – set him on course for a stellar career as a composer of some of the most memorable scores in cinema, aided in no small part, it must be said, by Vic Flick’s riff for the Bond theme, which took it to a different level.
The music on these three CDs presents Barry performing as part of the John Barry Seven, John Barry and The Seven (a different line-up), John Barry and his Orchestra, and even the John Barry Seven and Orchestra. In these different combinations, the music is much the same. Raw, short and sometimes accompanied by screaming fans in a live setting, it is a bit like listening to early Beatles’ recordings. The guitar twang is there in places, and there is an undeniable sense of energy and enthusiasm on display, but jazzwise there’s not so much in these tracks, most of which do not last beyond a couple of minutes. The compositions develop a bit by the time we reach the third disc, and there is a two-minute performance of The James Bond Theme towards the end of the collection, which is leaving us at the point where John Barry really started to go places. This set is perfect for Barry completists, but for a concise look at Barry’s best commercial work, I’d recommend the 1997 album Themeology.
Discography
CD1: Let’s Have A Wonderful Time; Rock-a-billy Boogie; Zip Zip; Three Little Fishes; Every Which Way; You’ve Gotta Way; Big Guitar; Rodeo; Ponchi; Hideaway; Farrago; Bee’s Knees; When The Saints Go Marching In; Long John; Snap ’n’ Whistle; Little John; For Pete’s Sake; Little John (live); Rebel Rouser; Good Rockin’; Tonight; Mab Mab; Twelfth Street Rag; Christella; Mood One; Mood Two; Mood Three; Mood Four; Smoky Blues (54.08)
CD2: Hit And Miss; Rockin’ Already; Beat For Beatniks; Big Fella; Blueberry Hill; Never Let Go; Walk Don’t Run; I’m Moving On; Black Stockings; Get Lost Jack Frost; Saturday’s Child; Magnificent Seven; Skid Row; Main-title – Beat Girl; The Off Beat; I Did What You Told me; Lindon Home Rock; Time Out; The Sharks; The Beat Girl Song; The City 2000 A.D.; The Stripper; The Cave – Beat Girl – Kids Stuff; Made You; Car Chase – Night Chase; Chicken; Blues For Beatnicks; It’s Legal; The Immediate Pleasure; Blondie’s Strip; End Shot – Slaughter In Soho/Main Title – Beat Girl (51.25)
CD3: The Menace; Rodeo; Starfire; A Matter Of Who; Rocco’s Theme; Spinneree; Watch Your Step; Twist It; It Doesn’t Matter Anymore; Sweet Talk; Moody River; There’s Life In The Old Boy Yet; A Handful Of Songs; Like Waltz; Rodeo; Donna’s Theme; Starfire; Baubles Bangles And Beads; Zapata; Rum-Dee-Dum-Dee-Dah; Spanish Harlem; Man From Madrid; The Challenge; Tears; Theme From The Roman Spring of Mrs Stone; Cutty Sark; Lost Patrol; The James Bond Theme; The Blacksmith Blue; The Lolly Theme; March Of The Mandarins (67.21)
Barry (arr, t, v, cond) and many others. Various locations, 1957-1962.
Frémeaux & Associés FA5909
My highlights from 2025
Beautifully crafted cover versions featured on two of my favourite albums from 2025 as I look back on the year. Walter/Donald by the Chris Ingham Quintet has rarely been off the CD player since it came my way for review – a subtle and tasteful interpretation of the music of Walter Becker and Donald Fagen with some gorgeous vocal harmonies to enjoy. In similar vein, and also proving that less is more, the Colin Steele Quartet provided hours of listening pleasure with spacious, quietly powerful interpretations of songs by The Blue Nile. As far as I know there is not an award for arranger of the year, but if there was it should go to Dave Milligan, whose contribution to Steele’s album helped to make it a masterpiece of understated and haunting beauty.
