Soundtrax

0 Comments | Add

Rate & Share:

Info:

Honey Up Against The Law

By Randall D. Larson October 13, 2005

HONEY WEST
© Harkit Records

THIS WEEK'S RECOMMENDATIONS

A pair of vintage 1960s TV jazz scores have been released by those intrepid preservers of 60s pop culture, England's Harkit Records.

Herschel Burke Gilbert was one of the pervasive composers of 1960s television music. While gaining an apprenticeship orchestrating for Dimitri Tiomkin in the 1940s (DUEL IN THE SUN and IT'S A WONDERFUL LIFE are two examples of Gilbert-orchestrated scores) and composing for low budget features in the 1950s, Gilbert found his home on television in the 1950s, reuniting with the directors of those low-budget features when they found work on TV in the 1960s. Gilbert's work on THE RIFLEMAN earned the composer the position of Music Director at Four Star Television, which produced many of the decades' hit series one of which was BURKE'S LAW (HRKCD 8146), a stylish and snappy detective series that ran from 1963 to 1966. Gene Barry played the character of Amos Burke, a suave Police Captain who always drove around in a chauffer-driven Rolls Royce. Glamorous, sophisticated setting, unusual twists on formula plotlines, and big name guest stars gave the show its own unique flavor (the final season was changed to AMOS BURKE SECRET AGENT when Burke left the police force and became a federal agent capitalizing on the popularity of THE MAN FROM U.N.C.L.E.); Barry starred in a 1994 revival under the original title.)

Gilbert highly original and jazzy score was the perfect accompaniment for the witty repartee of Amos Burke, and the baker's dozen cues that make up this CD reissue of the 1964 Liberty LP comprise some wonderful jazz. The original mono LP has been

HONEY WEST

restored for the first time on CD in stereo, and Harkit's package includes a thick 20-page booklet full of background information and appreciation of the show and its music. The music set the stage for the style of the show, providing an array of pure jazz that became the underscore for the character's adventures and interactions. From the sexy woman's bedroom voice that intones "It's Burke's Law!" before the music begins, the main theme is an orchestral melody over jazz combo, taking the jazz style into quasi-Hollywood territory. It's appeared on several compilations of TV music and is a very recognizable motif. The motif appears a couple of times in other cues: "Burke's Beat" takes the main theme on a very cool journey into a stew of pure jazz, orchestra, jazz combo and electric guitar merging into one very interesting mixture; while "Burke's Law Blues" gives it a downbeat blues pattern.

In fact, most of the jazz flavor of BURKE'S LAW maintains a bluesiness that runs throughout the entire score. It's in effect a jazz-blues composition despite some of its more raucous leanings. Obviously tracks like "Blues for a Dead Chick" and "Blues Downstairs" drift into that musical realm, both highlighting a crystal clear trumpet, intoning sorrowfully, enhanced by gravelly trombones and percussion. "Distraction" is a compelling track that could have some straight out of Duke Ellington, a cool riff driven by a terrific bass and cymbal beat, but even it maintains an air of the blues. "Bridget" is cool and crisp, sexy sax and brooding desire from guitar and strings. "Tim's Song" is a terrific subordinate theme for one of Burke's fellow detectives, a cool rhythm for vibraphone over which a handful of violins and paired trumpets play a provocative melody.

There have been a handful of notable jazz scores for feature films; for some reason the musical form seemed to thrive better on television, and Gilbert's work for BURKE'S LAW is among the finest riffing the genre has proffered.

A BURKE'S LAW spin-off, HONEY WEST (HRKCD 8150) ran a single season in 1965-66, but left the hearts of many a male viewer aching when the tales of Anne Frances' femme fatale secret agent went off the air. Joseph Mullendore's music opens with an amazingly aggressive big-band swing tune called "Wild Honey," the score goes through a variety of pure jazz riffs that are just marvelous. Mullendore, who'd also contributed library tracks to what became the scores for THE ADVENTURES OF SUPERMAN in the 1950s and worked on numerous TV series throughout the '60s, does not provide action-specific scoring (neither did Gilbert on BURKE'S LAW), but lays down a consistently provocative carpet of jazz vibes that gave this show an up-tempo and sexy atmosphere, well in keeping with the sensually sophisticated style of Anne Frances in the title role. "Sweet Honey," the slinky antithesis of the ravaging "Wild Honey" is sweet and sensuous, while "Silk 'N' Honey" lends an orchestral gloss to the riffing jazz. "Serape" captures a hit of Latin jazz in its stirring rhythms, and "Wait And See" is a musical tease the HONEY WEST incarnation of BURKE'S LAW's "Bridget," soft and sultry, evoking a sense of the most intense longing. "The Ocelot" is a cute and clever bit of furry fluff for West's constant feline companion. A snappy rendition of "Bolero" closes out the soundtrack very nicely. Harkit's CD contains a dozen tracks from the original soundtrack, in very polished sound, illuminating liner notes about the show by Dave Coleman, a 2-page bio of the composer, and a classic cover design based on the original ABC/Paramount soundtrack LP. (Oh, and by the way, if you're interested in acquiring episodes of this terrific series on DVD, surf on over to www.bijouflix.com and have a look around.) www.harkitrecords.com

FILM MUSIC NEWS

Speaking of Harkit Records, the label has just announced they will release Jim

FOYLE'S WAR

Parker's music from the UK TV series, FOYLE'S WAR. Parker, who has won the British Academy Award for best original Television Music four times, has written scores for over one hundred programs and is one of Britain's most successful and versatile composers. His work on Film and Television ranges from the seventeenth century MOLL FLANDERS, the eighteenth century TOM JONES, and the 1920's HOUSE OF ELIOTT, to the witty and satirical contemporary score for the prestigious political thriller "House of Cards". His evocative and haunting music for FOYLE'S WAR is presented here with a 20-page booklet packed with photos and interviews with the cast and crew. Soundbytes are available for previous on Harkit's web site (www.harkitrecords.com)

One of the most prolific composers in Hollywood in recent years, Harry Gregson-Williams, will get a Hollywood Award for achievement in film composing at the Hollywood Film Festival next week, Music From The Movies reported. The British composer, who started out as one of the team members of Hans Zimmer's Media Ventures ten years ago, is one of the busiest Hollywood composers today - his 2005 credits include KINGDOM OF HEAVEN, DOMINO, THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE and MRS. PALFREY AT THE CLAREMONT. Next year, he has AUGUST RUSH and D�JA V� on his scoring schedule.

Composer Philip Glass has written his first theme for a television series. Glass, creator of operas like Einstein on the Beach and the mesmerizingly minimalist scores for KOYAANISQATSI and its sequels, as well as film scores including THE HOURS and CANDYMAN, composed the title music for American television's NIGHT STALKER, which ABC debuted Sept 29th. Michael Wandmacher (MAX KEEBLE'S BIG MOVE, TOKYO PIG) has composed the individual episode scores.

FSM announces a 2CD set featuring three 1970s M-G-M soundtracks for films involving the work of renowned "Hollywood author" Michael Crichton, including two related to the medical field: THE CAREY TREATMENT (1972), based on Crichton's pseudonymous novel A Case of Need, starred James Coburn as an unconventional pathologist who solves a murder mystery at his Boston hospital. The melodic score by British composer Roy Budd recalls his "mod symphonic" caper and adventure scores

COMA

such as Get Carter, Fear Is the Key and The Black Windmill. This is the premiere release of the complete soundtrack. Westworld (1973) was a popular "high concept" film starring James Brolin and Richard Benjamin as tourists at a futuristic amusement park. The park's humanoid robots run rampant (including a gunslinger portrayed by Yul Brynner) and Benjamin is forced to flee for his life. Fred Karlin's quirky, unconventional score combined ersatz western scoring, source cues, and strikingly original electronic music (with acoustic flavorings) by the versatile composer and performer. The WESTWORLD soundtrack was earlier released on LP and CD, and this album features an expanded presentation with several corrected mixes. Finally, COMA (1978) was a medical thriller starring Genevieve Bujold as a doctor who uncovers a terrible conspiracy at her hospital. Jerry Goldsmith's long-admired score came amidst what many consider to be the peak of his action and suspense writing: the late 1970s. The coiled, imaginative cues (spotted exclusively in the second half of the picture) feature strings, pianos and percussion (no brass) for a terrifying musical analog to the queasiness of the medical profession. COMA was earlier released on LP and CD, and this album features the complete, expanded soundtrack. FSM's jam-packed 2CD set includes bonus tracks and outtakes for all three films, and a colorful 28-page booklet with liner notes by Jeff Bond and Lukas Kendall. All three scores are in newly remixed stereo. www.filmscoremonthly.com

Richard Band (RE-ANIMATOR, METALSTORM, PUPPET MASTER) has reunited with his director on RE-ANIMATOR and FROM BEYOND, Stuart Gordon, to score the "Dreams in the Witch House" episode of the new Showtime series, MASTERS OF HORROR, which debuts later this month. The show features episodes directed by Dario Argento, John Carpenter, Tobe Hooper, John Landis, Joe Dante, Larry Cohen, and other horror luminaries. "Dreams in the Witch House," like Gordon's RE-ANIMATOR, FROM BEYOND, and CASTLE FREAK, is based on a story by H. P. Lovecraft. Band also scored Gordon's THE PIT AND THE PENDULUM in 1990.

Intrada Announces the first-ever recording of the musical score from HUSH...HUSH SWEET CHARLOTTE, composed and conducted by Frank DeVol as Intrada Special Collection Volume 26. Composer Frank DeVol received two Academy Award nominations for the film's original score as well as its popular theme song, sung by Patty Page (the only music from the film previously released). Intrada presents the world premiere release of this classic spook score, featuring 70 minutes of DeVol's original music and hit song in full stereo, mixed directly from the original scoring session masters including a complete restoration of the opening title sequence, including music box and wild, taunting children's chorus. This edition is limited to 1200 copies, and will be available in November, 2005. For track listing and sound samples, please visit http://shopping.netsuite.com/s.nl/c.ACCT67745/sc.7/category.2005/it.A/id.4542/.f

Silva Screen has released a new expanded edition of the ESCAPE FROM NEW YORK soundtrack (SIL-CD 3016), featuring original film soundtrack music from the classic 1981 thriller by John Carpenter, who composed and performed the music in association with Alan Howarth. For this expanded release, which includes over 20 minutes or previously unreleased music as well as music from scenes deleted in the final print, Silva Screen went back to the original multi-track music masters and commissioned Alan Howarth to create a newly remastered stereo mix that would bring this landmark score into the 21st century.

On November 1st, the Canadian label Disques CineMusique will launch their fifth new recording of Georges Delerue film music newly arranged and recorded by Robert Lafond, devoted this time to the British director Jack Clayton (1921-1995). The program collects the best excerpts from five movie scores produced between 1964 and 1992: THE PUMPKIN EATER, OUR MOTHER'S HOUSE, SOMETHING WICKED THIS WAY COMES, THE LONELY PASSION OF JUDITH HEARNE and MEMENTO MORI. For this project, five instrumentalists and a soprano soloist join keyboardist, guitarist and programmer Robert Lafond. Complete info and mp3 sound samples available on www.disquescinemusique.com

BATTLESTAR GALACTICA composer Bear McCreary's band 17 Billion Miles of DNA will perform a live internet concert Thursday, October 20th @ 9pm. This bizarre little jazz band is best described as Django Reinhardt meets Astor Piazzola meets Axl Rose. "Battlestar" vocalist Bt4 will be singing lead vocals, and "Battlestar" percussion maestro M.B. Gordy will be on drums. McCreary plays accordion, and provides all the original songs and arrangements. See: www.kulakswoodshed.com/

GAMES MUSIC

Sumthing Else Music Works, Inc., through its licensing relationship with Microsoft

KING KONG

Game Studios, presents the Kameo: Elements of Power Original Soundtrack. The soundtrack album will be released on November 8th through Nile Rodgers' Sumthing Else Music Works label www.sumthing.com, the industry leader for licensing and distributing video game soundtracks.

Kameo: Elements of Power Original Soundtrack features the original orchestral score composed and produced by composer Steve Burke, with performances by The City of Prague Philharmonic Orchestra and Kings Choir in the Czech Republic. For music, exclusive behind-the-scenes footage from Prague and more, please visit the official soundtrack website at www.kameosoundtrack.com

Created by legendary game developer Rare (Conker: Live and Reloaded, Perfect Dark�) exclusively for the revolutionary next-generation Xbox 360 video game and entertainment system, Kameo: Elements of Power is a larger-than-life journey full of intense combat, magnificent exploration and innovative morph-into-monster action. The future of the world depends on Kameo, who must master her new ability to transform into various warriors and harness their elemental powers to save her family from Thorn, the evil troll king. For more information on the game, visit www.xbox.com/en-us/kameo.htm.

HUGEsound announces the worldwide premier

HOLLYWOOD REPORTER/BILLBOARD FILM & TV MUSIC CONFERENCE 2005

of Chance Thomas' spectacular original game score for Peter Jackson's KING KONG. Listen to an exclusive 5-minute highlight reel from the score at this link: http://img-www.kongisking.net/gaming/music/King-Kong-Game_A1-Highlight-Reel.mp3

The wholly original orchestral score for Kong was created by multiple award-winning composer Chance Thomas, the musical force behind VU Games' Lord of the Rings series and composer for Sony Pictures' Oscar winning short film, THE CHUBBCHUBBS!.

Chance worked closely with Kong's Creative Director Michel Ancel and other key players to deliver 120 minutes of soaring themes, thundering tribal rhythms, romance, heroism, tragedy, unsettling tension and rousing action. The result is "perfect", according to Ancel who said, "Though we worked on separate continents, Chance was living with us on Skull Island. He has used his talents to create the perfect music for immersing the players in the dramatic story of Kong."

Popular website KONGisKing.net has secured first rights to showcase the score from Ubisoft's upcoming action/adventure game. Fans can freely download up to sixteen minutes of themes and action music including the exclusive 5-minute highlight reel plus four more full-length music tracks from www.kongisking.net/gaming/music.html

HOLLYWOOD REPORTER/BILLBOARD FILM & TV MUSIC CONFERENCE 2005

Top music talents James Newton Howard, Graeme Revell, and Hans Zimmer are among the industry professionals who are set to participate in The Hollywood Reporter/Billboard Film & TV Music Conference Presented by Audi on November 15 -16 at the Beverly Hilton Hotel in Beverly Hills.

The conference will feature a keynote Q & A with award-winning composers James Newton Howard and Hans Zimmer who will talk about their unprecedented

Kameo: Elements of Power

collaboration penning the music for Warner Bros. Pictures' BATMAN BEGINS. In another key Q & A session, composer Graeme Revell will offer insights into his transition from member of industrial/experimental rock group SPK to Hollywood heavyweight. The fourth annual conference examines the crucial and evolving role of music in film and television and provides a dynamic forum for the exchange of ideas among film, TV and music professionals including producers, directors, composers, record label execs and music publishers.

For more information and to register visit www.billboardevents.com or 646-654-4643.

Former editor/publisher of CinemaScore magazine, Randall Larson was for many years senior editor for Soundtrack Magazine and a film music columnist for Cinefantastique magazine. He is the author of Musique Fantastique: A Survey of Film Music in the Fantastic Cinema (Scarecrow, 1984) and Music from the House of Hammer (Scarecrow, 1995). In addition to Soundtrax and Music News for Cinescape.com, Randall reviews soundtracks Music from the Movies, writes for Film Music Magazine, and in many other fields.