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SPECTRUM / mid 1950s / Epic   
An obscure collection of non-Schifrin tunes using the color spectrum as a theme, this hard-to-find record is a solid bachelor-pad orchestral work. At one extreme it is something like Andre Kostelanetz doing Chopin and at the other end, it recalls Nelson Riddle's Lolita. Lots of bouncy soundtrack strings, heavy-handed piano, harps scaling glissandos, lilting flutes and occasional percussion motifs. Schifrin's arranging skills are the reason to hear this but with no credits, one can't be sure it's him on the piano. Schifrin's unique personality simply does not have the presence here that it would gain very shortly hereafter.

PIANO ESPANOL / c. 1959 / Tico  
Early and worthy Schifrin very similar to 50s-era Xavier Cugat, who Schifrin was arranging for at the time. At times Schifrin sounds like a mad mix of Dezi Arnez and Martin Denny. Frenetic and rather too typical Latin arrangements are enhanced by Schifrin's effervescent piano. It's nice but not exceptional. The one gem here is the only Schifrin original, "Hulablues" - a clear indication of the direction he'd head in the mid 60s on his Verve orchestral records. 

GILLESPIANA / November 14 & 15, 1960 / Verve   
Lalo Schifrin exploded onto the American jazz scene with this, his Suite for Trumpet and Brass Orchestra, written especially for Dizzy Gillespie. Gillespiana set the standard for New York studio jazz orchestra recordings in the early 60s and remains a milestone in Gillespie's illustrious career. Schifrin's love and respect for the trumpet player is evident throughout. And Dizzy responds in kind with some dynamic, exciting interchanges. Nice spots for Schifrin, Leo Wright and Candido Camero too. This CD is worth repeated listens, even some studying [Does anyone else hear the influence of Yma Sumac in "Panamericana"?  Schifrin's musical career seems devoted to destroying any concept of musical anachronism]. Schifrin's very formal charts mingle perfectly here with the improvisational talents of its featured players. Truly classic American music. Schifrin conducted a reunion band performing the Gillespiana Suite at Carnegie Hall in 1995, featuring Jon Faddis in honor of the late Mr. Gillespie, and recorded it again for his own label, Aleph, the following year.

THE GILLESPIANA SUITE / November 20, 1960 / Malaco   
This well-recorded concert event catches Gillespie's quintet live at the Salle Pleyel in Paris only five days after the original recording of Schifrin's magnum opus. The 53-minute performance is historically significant because Gillespie was rarely able to perform the entire five-part suite in public (though he often played "Blues" throughout the remainder of his career) and it was thought that no performance of this suite had been recorded. What's more, Schifrin's 20-piece brass section is covered fully (and satisfyingly) by just Gillespie's quintet with Leo Wright on alto sax and flute, Schifrin on piano, Art Davis on bass and Chuck Lampkin on drums and percussion. The quintet is also in quite good form, with the pianist and the bassist taking the most impressive solos of the evening. Candido adds his conga to Ellington's "Caravan" and the brief "Coda," which round out the program. Also known as LIVE IN PARIS and PARIS JAZZ CONCERT.

LALO = BRILLIANCE / c. 1962 / Roulette   
Effectively employing much of the Gillespie rhythm section without Dizzy, Schifrin challenges each of his talented associates to reach new and unusual sounds. The jarring beauty of "The Snake's Dance" is an excellent example. It begins with a Middle Eastern flavor whose sound initially belies the instrumentation of the standard guitar, flute and percussion. In many instances, Schifrin's piano merely highlights or colors; however, his dynamic solo in "Kush" is undoubtedly the album's highlight (intriguingly anticipating some of Brubeck's style while playing with Gerry Mulligan several years after this). Schifrin's compositions "The Snake's Dance," "Mount Olive" and "Sphayros" are all worth a listen but the group excels on the more familiar material; especially "Kush," "Rhythm-A-Ning" and "Cubano Be." Reissued on CD in 2001 as part of TIN TIN DEO.

BOSSA NOVA/NEW BRAZILIAN JAZZ / c. 1962 / Audio Fidelity 
[also issued on CD as BRAZILIAN JAZZ / 2000 / Aleph]

This very good Lalo Schifrin samba sampler from 1962, reissued by the pianist in 2000 on his own label, recreates the Gillespie band without Dizzy in a bossa nova mode. Leo Wright's reed work, here as elsewhere,  is always a pleasure to hear and Schifrin is dynamic on piano, especially on "Chora Tua Tristeza," "O Apito No Samba," "Chega de Saudade," "Menina Feia" and "Samba de Uma Nota So."

[also issued as part of BOSSA NOVA GROOVE [CD] / 1999 / Ubatuqui]

This 1999 Spanish CD compilation reissues the entire contents of two of Lalo Schifrin's most obscure LPs: BOSSA NOVA, an Eddie Harris sextet session from Vee Jay (with Lalo's arrangements, piano and three Schifrin compositions) plus the pianist's 1962 Audio Fidelity LP, BOSSA NOVA - NEW BRAZILIAN JAZZ. Both serve as nice pieces of memorabilia from the bossa nova craze that swept jazz in the early 1960s. Both also feature a heaping helping of Schifrin's ever-effervescent piano work. The Eddie Harris date is too harshly recorded (and unusually unexciting) for bossa nova - but Harris, Schifrin and guitarist Jimmy Raney make it worthwhile. The far better Schifrin samba sampler essentially recreates the Gillespie band without Dizzy in bossa nova mode. Leo Wright's reed work, here as elsewhere,  is always a pleasure to hear and Schifrin is dynamic on piano, especially on "Chora Tua Tristeza," "O Apito No Samba," "Chega de Saudade," "Menina Feia" and "Samba de Uma Nota So."

THE NEW CONTINENT / September 1962 / Limelight   
By Dizzy Gillespie and the Big Band, composed and arranged by Lalo Schifrin. This outstanding suite was first issued three years after its recording in 1965 and reissued again in 1979 as part of a two-fer titled Composer's Concepts. Commissioned for the 1962 Monterey Jazz Festival, this outstanding and rather unusual jazz suite includes many excellent players and provocative solos. Quite a bit more formalized than Gillespiana, The New Continent (which, based on the blends of musical forms here, turns out to be America according to Schifrin) is much more like film music. Schifrin's suite is the star here. But Dizzy's holding the spotlight -- and his presence is never in doubt. In 1965, Down Beat called it "a masterpiece of contemporary composition" and "an important work, an artfully conceived expression of jazz-flavored modernity. Everyone connected with this enduring project is worthy of five stars".  

PIANO, STRINGS & BOSSA NOVA / Oct. 23 & 24, 1962 / MGM 
     w/ Jim Hall. First issued as PIANO, STRINGS & BOSSA NOVA in 1962, this album was reissued with one less title, as INSENSATEZ on Verve in 1969.  Exactly what the original title says, with 12 very brief Brazilianized themes and four Schifrin originals ("The Wave," "Rio After Dark" and "Silvia," from Schifrin's score to EL JEFE and "Lalo's Bossa Nova," written for Quincy Jones). Rare spotlight, though, on Schifrin's very interesting piano playing.

SAMBA PARA DOS / Feb. 7, 1963/ Verve   
Another of Creed Taylor's many bossa nova productions for Verve during the early 1960s, this one features a small ensemble led by pianist Lalo Schifrin and trombonist Bob Brookmeyer. Schifrin's piano smokes on the title track, a ten-minute bossa burner, originally written for Quincy Jones's BIG BAND BOSSA NOVA (and also featured earlier on Schifrin's PIANO, STRINGS & BOSSA NOVA). It is the hard-to-find album's centerpiece, but it can also be found on the compilation TALKIN' VERVE: LALO SCHIFRIN. Issued on Japanese CD in 2004.

PREVIOUSLY UNRELEASED RECORDINGS / March 26, 1963 / Verve  
By Johnny Hodges. First issued in 1973. Schifrin attempts to fit into Hodges' groove on piano and it's not exactly a failure. But it must be overwhelming to try and fill the Duke's shoes. The program for the quintet (with Barry Galbraith, George Duvivier and Dave Bailey) certainly could have been more exciting. Includes Schifrin's "Dreary Days" and "B.A. Blues." 

SEVERAL SHADES OF JADE / April 23, 24 and 25, 1963 / Verve   
By Cal Tjader. An excellent slice of Asian-jazz exotica from vibist Cal Tjader with Lalo Schifrin's huge jazz orchestra. The arrangements are noticeably subtle and notably beautiful. Compare this to Tjader's Asian-jazz follow-up, BREEZE FROM THE EAST, (included as part of the recently-issued CD) where Stan Applebaum's ham-fisted cornpone steals the rug away from Tjader, and one instantly identifies how beautifully Schifrin marries a jazz orchestra to its lead soloist. While this was clearly another of Creed Taylor's attempts to make Tjader popular by placing him way out of his element, Schifrin makes it all work well. Perhaps it's because Schifrin well understands how to meld percussion elements into his overall musical fabric. Each of Schifrin's tunes here deserve to be more widely known: "The Fakir," "Borneo" (performed as "The Ape Woman" by Jimmy Smith), "Song of the Yellow River" and "Almond Tree." The great tune titled "Hot Sake" here is called "A Taste of Bamboo" on Schifrin's soundtrack to GONE WITH THE WAVE. "China Nights" is perhaps the album's single best performance. Highly recommended to both Schifrin and Tjader fans. 

BETWEEN BROADWAY & HOLLYWOOD / May 1963 / MGM  
Since Schifrin was featured only rarely without an orchestra, his piano chops become the center of attention here. In a blindfold test, it would be hard not to hear Ahmad Jamal playing or interpreting this material. This is not to say that Schifrin is mining or mimicking. But the comparisons are hard to ignore -- with one exception. Schifrin's block-chord style is persistent. While many jazz purists tend to write off such stylists (think Dave Brubeck), Schifrin knows how to keep the program interesting. The trio cooks through the oft-covered material with a marvelous synergy one would never imagine from such studio stalwarts. Schifrin shines best on his own material ("Hallucinations," "Jive Orbit" and "Impressions of Broadway"), phrasing smartly and often with taste. Although Schifrin produces a pretty collection here, it seems clear, however, he is uncomfortable at the center of attention. The pianist would later employ alternative keyboardists like Mike Melvoin and Mike Lang for his soundtrack recordings and Clark Spangler for the albums BLACK WIDOW, TOWERING TOCCATA and GYPSIES. The next (and, to this day, the last) small-group recording Schifrin participated in was, INS AND OUTS, his tepid 1982 digital recording. This one is far more interesting.

BOSSA NOVA / 1963 / Vee-Jay   
[BOSSA NOVA GROOVE [CD] / 1999 / Ubatuqui]
This 1999 Spanish CD compilation reissues the entire contents of two of Lalo Schifrin's most obscure LPs: BOSSA NOVA, an Eddie Harris sextet session from Vee Jay (with Lalo's arrangements, piano and three Schifrin compositions) plus the pianist's 1962 Audio Fidelity LP, BOSSA NOVA - NEW BRAZILIAN JAZZ. Both serve as nice pieces of memorabilia from the bossa nova craze that swept jazz in the early 1960s. Both also feature a heaping helping of Schifrin's ever-effervescent piano work. The Eddie Harris date is too harshly recorded (and unusually unexciting) for bossa nova - but Harris, Schifrin and guitarist Jimmy Raney make it worthwhile. The far better Schifrin samba sampler essentially recreates the Gillespie band without Dizzy in bossa nova mode. Leo Wright's reed work, here as elsewhere,  is always a pleasure to hear and Schifrin is dynamic on piano, especially on "Chora Tua Tristeza," "O Apito No Samba," "Chega de Saudade," "Menina Feia" and "Samba de Uma Nota So."

REFLECTIONS / October 21, 22 and 28, 1963 / Verve   
By Stan Getz - Arrangements by Claus Ogerman/Lalo Schifrin. A mostly unremarkable Getz-with-orchestra record that boasts Schifrin's wonderful and moody "Nitetime Street" and "Reflections", the languorous ballad which prompted Tony Bennett to have Gene Lees add lyrics (the result, "The Right To Love", was later covered by Bennett, Carmen McRae and Schifrin himself on the ONCE A THIEF album). Otherwise, it's mostly snoozy set. The mono version has a different set of liner notes than the stereo version.

EXPLORATIONS / Feb. 10 & 11, 1964 / Roulette   
w/ Louis Bellson. A primer in the percussive film cues for which Schifrin became justly recognized. Indeed Schifrin's "Variations" heard here was used as an action cue during the first season of MANNIX. EXPLORATIONS even hints at the symphonic direction Schifrin's film scores were to take by the late 70s. Schifrin, recognizing the potential of percussion to orchestrate, often anchors a sole instrument (a harp, a guitar or a piano) here to the panoply of Bellson's percussion choir. The overall effect is one more of shifting moods than the concerto that is intended. The listener intending to understand EXPLORATIONS as part of Schifrin's curriculum vitae will be far more intrigued and fulfilled than the Bellson fan anticipating a swinging time. 

THE CAT / April 27 and 29, 1964 / Verve   
By Jimmy Smith - Arranged and Conducted by Lalo Schifrin. Popular and exciting all-star big band record which won Jimmy Smith a Grammy Award. Similar in formula to the many Jimmy Smith records with Oliver Nelson, this is one of Smith's very best of very many orchestra-and-organ efforts during the 60s. Smith can be counted on for hot licks, but Schifrin's orchestra (comprised exclusively of brass and rhythm) can kick one swinging line after another to keep the organist enthused. While "The Cat" is well-known, "Theme From 'Joy House'" is the best of the bunch here. It is one of the only opportunities to hear Schifrin's excellent theme to the great cult film starring sexy Alain Delon and Jane Fonda. Smith is acknowledged as one of the greatest organists in jazz; but he often lets one or two sticky-sweet sentimental songs creep into each of his albums. There's nothing on THE CAT like that. Perhaps it's Schifrin's influence, but even the ballads ("Main Title From 'The Carpetbaggers'" and "Blues in the Night") have a swinging moodiness that seem to rock Smith into sterling performances. Highly recommended for tremendous musicianship that's very entertaining as well. Kudos, too, to PolyGram: This was one of the very first CDs issued in the mid 80s and has remained in print since. 

NEW FANTASY / June 9 & 10, 1964 / Verve   
One of Schifrin's earliest successes in orchestral jazz, NEW FANTASY concentrates on mostly interesting works of Copeland, Ellington, Villa-Lobos, Khatchaturian and Richard Rogers. Schifrin's colorful and often provocative arrangements highlight excellent contributions from J.J. Johnson, Jerome Richardson, Clark Terry and Mundell Lowe. The album was released on CD in Japan in 1999 and half the album ("Prelude #2," "El Salon Mexico" and "Peanut Vendor") was featured on the 1999 CD compilation TALKIN' VERVE: LALO SCHIFRIN. Schifrin also revisited the stirring, beautiful bossa nova-fied "Bachianas Brasileiras #5" on his 1996 CD GILLESPIANA IN COLOGNE and again with four other songs from NEW FANTASY on his 2005 CD, KAILEDOSCOPE.

GONE WITH THE WAVE / October 1964 / Colpix   
A terrific collection of catchy, upbeat jazz tunes accompanying a documentary film on surfing. The magic is provided by 12 of LA's best studio jazz musicians at their peak: including Paul Horn (as,f), Frank Rosolino (tb), Victor Feldman (p), Shelly Manne (d) and Howard Roberts and Laurindo Almeida (g). Very, very hard to find...but highly recommended. In 1965, Down Beat said that the album "consists of brief pieces of currently fashionable atmosphere music, ground out like neatly packaged sausages--bossa nova, funky waltz, blues, twist, etc. The performances are capable but quite impersonal." I beg to differ: Schifrin is masterful here. Issued on CD in 2006 by the wonderful folks at Film Score Monthly, along with John(ny) Williams's similarly themed Colpix soundtrack to DIAMOND HEAD.

JAZZ SUITE ON THE MASS TEXTS / November 5 and 6, 1964 / RCA   
By Paul Horn - composed and conducted by Lalo Schifrin. A fascinating and award-winning combination of jazz and liturgical music that holds up well over thirty years later. In fact, it's surprising this has yet to be released on CD given the recent chant music fad. Horn, playing flutes, clarinet and alto sax, is accompanied by his quartet, a small orchestra and chorus. There is a meditative quality to much of the music (except the free-ish "Credo"), yet the performances come alive on such up-tempo pieces as "Kyrie" and "Offertory." Again, Schifrin marries multiple and opposing styles with a poetry that is all his own. Many of these titles were dramatically overhauled for Schifrin's later release, ROCK REQUIEM (1971) and revisited as is on his own quite excellent JAZZ MASS IN CONCERT (1998). In 1965, Jazz magazine called JAZZ SUITE "one of the best attempts at religious jazz, on or off record" and Down Beat said "from a jazz point of view, there are several fine spots on this disc. But they are just spots, and if jazz is one's primary interest, the jazz in this suite is well diluted by non-jazz elements."

ONCE A THIEF / April & May 1965 / Verve  
Here's the first sign of Schifrin's brilliantly infectious compositional talents. Features his themes from ONCE A THIEF, JOY HOUSE, THE MAN FROM U.N.C.L.E and more. Terrific tunes, great arrangements and peerless playing. The studio orchestra includes the very best of New York's jazz musicians and excellent contributions are heard from Schifrin, Kenny Burrell and Clark Terry. 

THE CINCINNATI KID / c. 1965 / MGM   
Befitting its New Orleans location, there are some nice Schifrin jazz moments here. "New Orleans Procession" became a favorite theme for Schifrin ("Dialogues for Jazz Quintet and Orchestra," "La Nouvelle Orleans," etc) and the Ray Charles theme song became a minor chart hit - though the instrumental version is less of a novelty number. Schifrin re-recorded this score to positive effect in 2001 for release on his own Aleph label in July 2002. 

THE LIQUIDATOR / c. 1965 / MGM   
One of the many James Bond spoof films that began appearing in the mid-60s, THE LIQUIDATOR has a theme that boasts the hyper vocal talents of "Goldfinger" hitmaker Shirley Bassey. The song itself, which became a hit, is just plain goofy. The rest of the soundtrack, however, contains some substantial Schifrin music in a variety of jazz idioms. "Boysie's Bossa (Sax Version)" is straight out of Stan Getz's bossa nova bag. Perhaps most memorable, though, are the seductive flute-and-percussion themes of "The Killer, "Carry On" (the instrumental version of the film's theme) and "Boysie's Bossa." The flute-and-percussion motif, first exploited in his rendition of THE MAN FROM U.N.C.L.E. theme, has since become something of a recognizable Schifrin trademark. Interestingly, "Riviera Chase" even sounds like an U.N.C.L.E. outtake. The album's ballads, including "Iris" with Schifrin at the piano, are schmaltzy, yet with the strength of their themes could be rendered more successfully with a bit more muscle. Obviously, though, Schifrin is painting a diverse score - and, overall, he succeeds. The wonderful folks at Film Score Monthly did a tremendous job restoring the soundtrack album - and many unreleased and incredibly Schifrinesque cues - from the film to CD in late 2006.

MURDERER'S ROW / 1966 / Colgems  
A terrific early soundtrack with great, catchy tunes throughout. In only 26 (!) minutes, Schifrin effectively mixes (mid 60s) rock and jazz, spoofs the spy soundtrack and still maintains a clever, intricate integrity. Schifrin's compositional gifts are quite apparent here - because this music is fun to listen to and, to this day, retains an element of intellectual depth. A score like Murderers' Row can reveal just how sensitive and intuitive a composer like Schifrin can be when scoring action and emotion. Fans of Schifrin's Mission: Impossible music will find much to like here. Very hard to find, but highly recommended! 

MARQUIS DE SADE / April 27 and 28, 1966 / Verve   
Now fully engaged in his Hollywood career, Schifrin produced in 1966 what remains truly one of his greatest musical achievements. Essentially a baroque take on jazz, Schifrin creates his own beautiful variations on the classics here. His inspiration is diverse, even divine - Henry Purcell ("Aria"), Bach ("Bossa Antique"), Francis Hopkinson ("Beneath a Weeping Willow Shade"), Telemann ("Old Laces"), even Ramsey Lewis and the Rolling Stones ("The Wig"). The musicianship is first-rate too; especially Schifrin's graceful and evocative piano and Gene Bertoncini's lovely guitar. Without question, a unique, gorgeous and inspired statement and one of the buried treasures in 1960's jazz. Marquis de Sade - which is shorthand for an unwieldy title otherwise known by The Dissection and Reconstruction of Music or, more succinctly, Schifrin/Sade - will certainly appeal to those who savor Schifrin's recent "jazz meets the symphony" series. Schifrin, in fact, retooled such Marquis themes as "The Wig," "The Blues For Sebastian Bach," "Renaissance" and "Bossa Antique" for the recent series. While the original LP was designed to take unrelated advantage of the popularity of Peter Brook's London stage hit, Marat/Sade, Verve's publicity department had a field day with Marquis's advertising; a sample of which goes like this: "For those who think Jung? Don't be a Freud! Jump in with Lalo Schifrin and his jazz analysts for a tiddly, tingly, definitely titillating album of free-swinging jazz. Whether you go for baroque or are off your Rococo, listen to what's been done to music here!" An essential part of Lalo Schifrin's widely diverse musical talents - and the subject of a sequel, released in early 2002.

LATIN IN THE HORN / 1966 / RCA
By Al "He's The King" Hirt -- Arranged and Conducted by Lalo Schifrin. 
A lush, easy-going Brazilian outing, Latin in the Horn is aided substantially by the sophistication Lalo Schifrin brings to Hirt's cotton candy. Schifrin's orchestra waxes elegantly while Hirt's restraint is a pleasant surprise. Even though this outing post-dates the "Bossa Nova" fad by a few years, Schifrin was always masterful in this style (to date, his last journey in this direction except for his disco retakes on this LP's first three tracks on 1976's BLACK WIDOW). Listeners will certainly want to hear the magic Schifrin weaves on beauties like "Taboo," "Angelitos Negros," "Margarita," "Be True To Me" and the two Schifrin originals ("A Sky Without Stars" and "Gringo A Go Go"). Much better than most would think. Issued on Spanish CD in 2002.

MISSION: ANTHOLOGY / 1966-68 / One Way   
The world’s most popular TV show theme is the highlight of what is probably among the best of Schifrin’s collected work. Although many versions of this music now seem to exist, this 1994 collection on One Way is the one to get. It contains the superb 1966 Dot soundtrack LP, the full contents of the 1968 Paramount follow-up, MORE MISSION: IMPOSSIBLE, and one similarly-crafted theme ("Secret Code") from Schifrin’s Dot LP, THERE’S A WHOLE LOT OF SCHIFRIN GOIN' ON. Highlights abound here on this multi-varied collection of exciting, even thoughtful action cues. Anyone’s list of personal favorites may contain all 22 titles. In addition to the popular and oft-covered theme, you’ll also hear the origin of Portishead’s "Sour Times" ("Danube Incident") and a variety of cues producer Bruce Geller reused for his next collaboration with Schifrin, MANNIX ("Cinnamon," "Mission Blues" and "Midnight Courier"). Often copied, but never matched, Schifrin’s MISSION: IMPOSSIBLE music is truly some of the best the composer has ever recorded. Highly recommended.

COOL HAND LUKE / 1967 / Dot (MCA)   
Featuring Schifrin's second most famous tune, "Down Here on the Ground" (although it's not named as such anywhere on the record), the tremendous score to Cool Hand Luke is a little more upbeat than the well-respected film it very successfully accompanies. Despite such excellent music, the film beautifully illustrates Schifrin's provocative use of quietness -- underscoring the composer's gift for recognizing the emotional and psychological value of silence. The music, on the other hand, appropriately mixes elements of bluegrass, jazz, country and blues and alternates ideal features for harmonica, banjo, piano and guitar. Many will recognize "Tar Sequence" from its use on news programs (i.e.: ABC-TV). The real gem, though, is "Egg Eating Contest," which accompanies one of the film's most notorious scenes. Like "Sampans" (from Enter the Dragon) Schifrin shows how he can create a memorable medley for the vividness of a single moment. Other compositions worth note: the jazz-blues of "Just a Closer Walk With Thee" and "Arletta Blues" and the cinematic pleasures of "Bean Time" and "The Chase." The composer released the score on his own Aleph label in 2001, adding five previously unreleased cues and two later symphonic variations of his famous theme.

THE RISE AND FALL OF THE THIRD REICH / June 7 and September 7, 1967 / MGM   
A television soundtrack presented as an orchestral cantata. The text and the singing were not heard in the television presentation and Schifrin's music would have been served better without them as well. Schifrin's score has all the appropriate and obvious moments, indeed not unlike some of the cues he drafted for the MISSION: IMPOSSIBLE series. But German poet Alfred Perry's lyrics are overly melodramatic; though, no doubt heartfelt. Worse, actor Laurence Harvey's pretentious narrative delivery makes it unbearable. The 1968 MGM album has never been issued on CD - and is unlikely to find its way there - but the cover art is certainly well done.

THE FOX / c. 1968 / Warner Bros  
Schifrin's score was nominated for an Academy Award and the eponymous theme became a minor hit in jazz circles thanks to Wes Montgomery's cover version. The composer himself finds enduring value and appeal in the sad, haunting main theme, still performing it at many concert events and recording it for INS AND OUTS (1982), JAZZ MEETS THE SYMPHONY (1992), FILMCLASSICS (1995) and JAZZ GOES TO HOLLYWOOD (1999). But overall, this score is unrepentantly dreary and (in such parts as "Roll It Over," awful). Still, the little-seen film (an early effort directed by ON GOLDEN POND's Mark Rydell) and its ever-scarce soundtrack LP are highly celebrated. Although issued on CD by WEA France in 2001, Schifrin re-recorded THE FOX to much better effect in 1999. (See also: the 1999 recording of THE FOX). 

BULLITT / 1968 / Warner Bros.  (video) 
Features such outstanding jazz players as Plas Johnson (ts); Howard Roberts (g); Bud Shank (f); Mike Melvoin (p,org), Ray Brown (b) and some of Schifrin's best and most memorable jazz writing for the big screen. The "Bullitt" theme is every bit as exciting as (and perhaps even more interesting than) "Mission: Impossible." But the unnecessarily sped-up version of the theme heard here -- like the rest of the LP's West Coast-flavored jazz themes -- is not the one heard in the film. The orchestral version Schifrin recorded for 1990's masterful HITCHCOCK MASTER OF MAYHEM is superior. Like Mancini before him, Schifrin brilliantly weds jazz to what motivates the action in a film and, more significantly, retains his own musical signature. Note, too, how his most celebrated moment, the chase scene, contains absolutely no music at all. In a career that spans more than 100 films, this remarkable score remains one of Schifrin's very best. Even after renewed popularity caused by a UK car commercial using the film's images and themes and a hit Black Dog dance-club remix, the BULLITT soundtrack remains nearly impossible to find. (see also: the 2000 recording of BULLITT).

THERE'S A WHOLE LALO SCHIFRIN GOIN' ON / c. 1968 / Dot   
Laugh In's Gary Owens came up with the title. It's basically a collection of fun little pop tunes that sound like outtakes from a cop show...or more probably expanded cues from Schifrin scores of the period ("Two Petals, A Flower and a Young Girl" was featured as a mariachi-styled number which blasted from a car radio in the film THE PRESIDENT'S ANALYST). Other titles - like the Bob Dorough-influenced (and inspiring) "Life Insurance" (where a life insurance policy is read verbatim over a grooving little theme) - are probably original to this solo release. There are many nice features here, great acid-trip titles like "Vaccinated Mushrooms" and weird cover art by Apple Graphics (of all people!). Great hippie bachelor-pad music and, perhaps, one of Schifrin's definitive non-film statements from the 1960s (which - of course - is not available on CD).

MANNIX / c. 1969 / Paramount   
This is the album that recognized Lalo Schifrin's star power. The cover has Schifrin's name placed over the title in inch-and-a-half high letters, seemingly more prominent than the album's subject. The famous theme, like the legendary 5/4 theme Schifrin constructed for Bruce Geller's earlier show, Mission: Impossible, is quite unusual in that it was devised as a waltz in 3/4 time (an odd choice for the "macho" cool-guy detective Joe Mannix, but if you ever saw the show, it worked quite well). The uptempo numbers ("Mannix," "The Edge of Night," "Hunt Down" and "Fear") are often propelled by horns, piano, electric guitar, electric bass and a variety of percussion and have much that would appeal to Schifrin's jazz fans. The ballads are pure bachelor-pad fluff -- with the exception of the beautiful and evocative "Warning: Live Blueberries." A favorite Schifrin groove is here too; "The Shadow:" another instance of the composer's gift for knocking off some of the coolest tunes in history.  This very rare LP deserves to be reissued in full on CD (the theme can be heard on the 1998 compilation THE REEL LALO SCHIFRIN). After his own attempts to release the original LP, Schifrin re-recorded the MANNIX soundtrack in 1999, staying remarkably true to the originals heard here. (See also: the 1999 version of MANNIX).   

"CHE!" / 1969 and 1997 / Aleph (originally Tetragrammaton)  
Schifrin's score for one of the most reviled and long-forgotten epics of the late 60s is a brilliant, varied collection of Latin themes. Featuring nearly a dozen percussionists (including Mongo Santamaria and Armando Peraza) and a deft blend of strings and horns, the CHE! score unlike the film it enhances seems imbued with the dignity of the folk music it explores. Schifrin has always excelled with Latin themes and such exciting pieces as "La Columna" and "Recuerdos" illustrate his talent in providing a provocative canvas on which talented artists -- even studio musicians -- create some of their most evocative music. Originally released as a 1969 LP on Bill Cosby's short-lived label, Tetragrammaton, CHE! was reissued in 1998 on Schifrin's Aleph label with six new tracks (five featuring the stunning guitar work of Juanjo Dominguez) and without two tracks ("Tiempo Pasado" and "Ché (Solo Guitar Version)") from the original LP. Of the new tracks, standouts include the guitar solo, "Tango," the orchestral "Los Andes" and the piano/guitar duet version of the "Che!" theme. Altogether, CHE! is an exceptional reference to Lalo Schifrin's Latin heritage and contains much which is enjoyable and, ultimately, quite memorable.

MEDICAL CENTER AND OTHER GREAT THEMES / 1963-70 / MGM   
The hit television show spawned a hit theme for composer Lalo Schifrin. But a full score was not available, so MGM assembled this ersatz collection of Schifrin's MGM film and TV themes. Includes the first recorded version of the title song as well as themes from "Kelly's Heroes," "The Liquidator," "Once a Thief," "Sol Madrid," "The Cincinnati Kid" and "The Venetian Affair." The title track was issued on 45, backed by Schifrin's cover of War's "Spill The Wine" (not included here).

KELLY'S HEROES / June 1970 / MGM   
A popular yet critically-disliked film, Kelly's Heroes benefits by one of Schifrin's most interesting scores. The film, like Robert Altman's M.A.S.H. (released the same year) is a loud, messy and anachronistic view of World War II that exploits the country's discomfort with the embarrassments of the prolonged Vietnam War. Schifrin's music here, much of which is quite good, is highly anachronistic as well; mixing odd and disparate styles of folk, country, rock and military marches. The theme, "Kelly's Heroes," ranks as one of Schifrin's most beguiling themes (along with "Mission: Impossible" and "Bullitt") and sets the film's sardonic tone. "Burning Bridges," in both instrumental and vocal versions sounds very much like an early 70s peace anthem, though the lyric suggests a hippy-like resignation from society. For the sarcastic "Battle Hymn of the Republic" (which Schifrin would later reprise on his own records, JAZZ MEETS THE SYMPHONY and JAZZ MASS), Schifrin employs a kazoo, fuzz guitar and garrish brass. Hank William's country-pop "All For The Love Of Sunshine" was a hit. But, overall, the disparate elements blend in one of Schifrin's surprisingly strong pop-oriented soundtracks. The complete LP soundtrack was beautifully issued on CD in 2005 by Film Score Monthly with the never-before issued score of the film and cues intended for the film but never used.

ROCK REQUIEM / May 1971 / Verve   
Out of print and hard to find, this was released at a time when "rock opera" and concept themes were popular (or interesting to consider). Deftly mixing elements of rock, gospel, jazz and secular music, Schifrin employs a choir and LA studio musicians in this unusual and fascinating tribute "for the dead in the Southeast Asia War." Rock Requiem stands strong as a sequel of sorts to Schifrin's cantata, The Rise and Fall of the Third Reich (1968) and the liturgical Jazz Suite on the Mass Texts (as recorded by Paul Horn in 1964). Worth the attention. 

LA CLAVE / 1972 /  Verve    
Not sure how much of this Latin-pop-jazz experiment is Schifrin's project. It may just be a bunch of faceless studio musicians - or it really is a multi-culti nonet led by the mysterious studio musician, Benny Velarde. But this very obscure record offers some excellent 1973-era Latin dance grooves.  Its best number is Schifrin's kick-ass original "Latin Slide," a dynamite explosion of piano, horns and percussion (also used as a source cue in Schifrin's score to the 1971 film PRETTY MAIDS ALL IN A ROW). Schifrin's other original here, the too-brief "Cocoa Leaf" offers more of the same (I'm willing to bet it's Schifrin kicking out the jams on acoustic piano on both tracks). The Schifrin-esque pop jazz of "Angels of Mercy" (which would fit well on ROCK REQUIEM, noted above) is another highlight -- as well as better-than-original covers of "Sally Go Round The Roses" and Lonnie Smith's "Move Your Hand." Some straight pop and one salsa number included. Kind of sloppy production values seem to work in its favor. Surprisingly, this was licensed for issue on CD by Chicago's Dusty Groove in 2007.

THE NEPTUNE FACTOR / 1973
Think of it as an underwater version of Schifrin's bug-movie score, The Hellstrom Chronicle (1971). This Ben Gazzara starrer features one of Lalo Schifrin's fully orchestral (plus electronics) scores. Some of the music here is by William McCauley. But whose cues are whose remains undetermined. However, the film - and the music - are most interesting when the action is underwater; some of which brings to mind Schifrin's orchestral embellishments to his own Rock Requiem. The film prominently features actor Walter Pidgeon (1898-1984), who also starred in such Schifrin-scored films as Harry In Your Pocket (1973), The Mask Of Sheeba (1969) and How I Spent My Summer Vacation (1967).

ENTER THE DRAGON / June 1973 / Warner Bros.  (video)
Action films always bring out the best in Schifrin. This is no exception. Using Oriental scales in a familiar 'Blaxploitation' context, Schifrin concocts a hypnotic score, a dynamic theme and provocative variations. The title theme and "Sampans" are Schifrin at his best and offer quite memorable cool-music movie moments. But Portishead fans will most likely recognize "The Human Fly" groove first. Hardcore fans will want to get Warner Video's fancy 1998 "25th Anniversary" box set (featuring a deluxe, remastered version of the video, Bruce Lee documentary, full-color book of the film and production stills) for a complete CD of Schifrin's masterful score -- with more than twice the music found on the original LP soundtrack. Schifrin would also provide an equally enjoyable score for THE BIG BRAWL (starring Jackie Chan), a story with the exact same plot as ENTER THE DRAGON, in 1980 for the same producer. ENTER THE DRAGON also provided the inspiration (and at least one que) to Brett Ratner's terrific 1998 film starring Jackie Chan, RUSH HOUR. It's also interesting to consider ENTER THE DRAGON as further explorations of the music Schifrin crafted for Cal Tjader's SEVERAL SHADES OF JADE (1962).

THE EXORCIST / October - November 1973 / Warner Bros.
Finally, Lalo Schifrin's music for the 1973 hit, THE EXORCIST, can be heard on this beautiful, limited-edition VHS box set (similar to Warner's equally classy ENTER THE DRAGON set released in 1998). Jon Burlingame's excellent liner notes reveal the interesting story about why director William Friedkin despised Schifrin's music and had every note of it removed from his film (also further explored by George Park in the February 1999 issue of Film Score Monthly). Schifrin, it turns out, had been brought in by the film's producer when Friedkin's first choice, Bernard Herrmann, was unavailable. Ultimately, Friedkin used such "found" music as Mike Oldfield's "Tubular Bells" (not included here due to contractual problems) and the beautifully haunting near-music of composer Krzysztof Penderecki. Schifrin's three cues - for the never-seen trailer, a lengthy suite and a "Rock Ballad" theme - are simply remarkable. There's something nearly dissonant about his music, totally in keeping with the flavor and feeling of the actual film itself. It's as if Schifrin, composer of the similarly off-setting "Scorpio's Theme" for DIRTY HARRY, had taken a more modern, if not wholly avant-garde view of Herrmann's PSYCHO. For years, rumors have circulated that Schifrin replicated this score for his brilliant score to THE AMITYVILLE HORROR. While not completely true, there are likenesses of the music here to be found in AMITYVILLE's more provocative cues ("Get Out," "The Basement," "Bleeding Walls," and to a lesser extant, "The Ax"). One can only hope Warner Bros. makes this and the complete ENTER THE DRAGON CDs available independent of their well-packaged (though pricey) box sets.

BLACK WIDOW / March 29-30, 1976 / CTI   
Situated in Hollywood since the mid-60s, Schifrin reunited with Creed Taylor in New York to produce this above average collection of pop/jazz/disco in 1976. Recalling some of his earlier (and more commercial) triumphs at Verve, Schifrin delivers first-rate tunes; simple and inventive, funky and intelligent. Terrific cover photography (as expected) by Pete Turner. The 1997 CD release of BLACK WIDOW features four excellent, previously unreleased songs ("Frenesi," "Tabu," an excellent alternate take of "Baia" and and disco-fied "Con Alma"), the surprise addition of George Benson's guitar solos, superior sound reproduction and packaging - and most of the eight tunes on the original album are longer on the CD. Very highly recommended. 

ROLLERCOASTER / c. late 1976 / MCA   
Schifrin uses a calliope throughout this score, much like he uses a zither to establish an environmental mood in ESCAPE TO ATHENA (1979) -- so much so, in fact, one who knows this film only by the score would tend to think of it as "Merry-Go-Round" (significantly, one of the titles on this very good soundtrack). The long introduction, "Prologue, Montage," successfully moves through a variety of styles (funhouse, disco, classical) much like a walk through an amusement park - and much like a journey through Lalo Schifrin's apt diversity of styles. Several winners stand out here: the heavily disco-fied "Rollercoaster" (similar to the version on Schifrin's TOWERING TOCCATA), the beautiful Schifrinesque "Portrait of Harry" and the wonderful swing of "Apple Turnover," a homage of sorts to Count Basie (for whose band Schifrin wrote several arrangements in the early 60s). The soundtrack was re-issued in early 2001 - with quite good sound - by the composer himself on his own Aleph label with six never-before heard tracks ("Reflections In The Window," "That's Him," "Tension Rock," "Persistence" and "Stars & Stripes Forever"). Very much worth the time and effort of true film-music aficionados. 

TOWERING TOCCATA / October/December 1976 / CTI 
On this, the second of Lalo Schifrin's two CTI releases, disco again propels the music. But Schifrin's clever writing and dynamic orchestration make much of this music more interesting and less dated than so much of the disco-jazz being produced during this period (especially at CTI). Ideal deployment of top soloists like Jeremy Steig (flute) and Eric Gale (guitar) help too - although it's less clear who's playing keyboards, Schifrin or Clark Spangler. Here, Schifrin features several of his recent film themes ("The Eagle Has Landed," "Rollercoaster" and "Day of the Animals"), one of his TV themes (the short-lived "Most Wanted") and an interesting disco version of Bach's Toccata and Fugue. Highlights include "Theme From King Kong" and Schifrin's "Midnight Woman." This hard to find LP (reissued on CD in Japan in 2000 and the UK in 2004) is certainly worth hearing but the American owners will probably never issue it on CD, at least with the original cover, which shows Schifrin (in furs) towering over the sadly decimated World Trade Center towers.

THE EAGLE HAS LANDED / 1976-77 / Aleph  
This release on Aleph is a vast improvement over prior issues of Lalo Schifrin's interesting orchestral score to this middle-brow World War II adventure drama. This edition of THE EAGLE HAS LANDED offers the complete original film score, adding 13 cues and 33 minutes to what's been issued before on Entre Act and Label X. Schifrin keeps the minimal orchestra on low burn, deftly (and sparingly) employing the cymbalom to add mysterious, almost pulsating effect. The film's strongest themes include the MISSION: IMPOSSIBLE-esque "Eagle in Danger" and the previously unreleased love theme, "The Swan," otherwise known as "On Rainy Afternoons," in Schifrin arrangements for Barbra Streisand and Stan Getz and "Eagles in Love" from Schifrin's TOWERING TOCCATA.  Overall, this now complete score offers an ideal opportunity to partake in Schifrin's genuinely intriguing orchestral gifts.

FREE RIDE / January 31, February 1 and 2, 1977 / Pablo  
By Dizzy Gillespie - Composed and Arranged by Lalo Schifrin. Rather generic, yet hook-laden instrumental disco/pop themes that somehow seem to bury Gillespie. Apparently this is the way he wanted it. But it does contain the grooving "Free Ride", which Schifrin performed with Jimmy Smith to slightly better advantage on THE CAT STRIKES AGAIN.

DREAM MACHINE / January 23-27, 1978 / Mushroom  
By Paul Horn. Unfortunately inconsequential and fairly generic disco-pop originals by Lalo Schifrin with LA studio musicians chugging away behind the flautist. Notable performances on "Witch Doctor" and the title track are certainly well worth hearing. 

THE FOUR MUSKETEERS / poss. 1978 / Label X   
An outstanding CD containing Schifrin's symphonic suites for THE FOUR MUSKETEERS (1974), THE EAGLE HAS LANDED (1976) and VOYAGE OF THE DAMNED (1976). Each score is quite different; but heard together, Schifrin's logic and passion reveals one very distinct voice. THE FOUR MUSKETEERS is the most exciting (and successful) of the three; blending a Baroque formality with light-hearted whimsy -- a perfect complement to Richard Lester's film. "Overture," "Athos Story" and "Milady's Theme" are excellent, and reminiscent of Schifrin's go-for-baroque jazz album, MARQUIS DE SADE (1966). The "Main Title" sequence of THE EAGLE HAS LANDED provides a dark, ominous beginning to an intricate and intriguing  suite -- one that rises to the surface with its very own drama. The VOYAGE OF THE DAMNED suite somehow gets lost in this collection; seemingly meandering until the infectious (and rather out of place) Latin dance number "Hotel Nacionale" kicks in. Very highly recommended, and one of the few references for Schifrin's outstanding symphonic talents. 

GYPSIES / c. 1978 / Tabu 
Lalo Schifrin’s 1978 switch to Tabu Records, a label whose few soul and reggae acts (S.O.S. Band, Alexander O’Neal, the Wailers) achieved quite a modicum of popular success, seemed rather unusual. But GYPSIES, the first of two albums Schifrin recorded for Tabu, suggested there was hope for this disc’s commercial popularity. Here, Schifrin continued exploring the disco rhythms he became fascinated with on his two previous CTI records. However, this all-instrumental program eschews improvisation (and much real jazz content) almost altogether, concentrating on Schifrin’s dynamic, tightly-constructed arrangements. Each of the eight pieces actually suggests a collection of disco concertos, with synthesizers and electric keyboards stating most of the main themes. A considerable number of LA’s best studio musicians, particularly the horns of Bobby Bryant, Oscar Brashear, Tony Ortega and Ernie Watts, punctuate throughout. There is much here that is admirable, particularly "To Cast A Spell" (which bears similarities to "Robbery Suspect" from Schifrin’s SUDDEN IMPACT score), "Fortune Tellers" and "Moonlight Gypsies." It would be fascinating (and logical) to hear Schifrin retool some of this music – particularly the pretty "King of Hearts" – for a symphony orchestra.

BOULEVARD NIGHTS / c. 1979 / Warner Bros.  
Very disco-oriented soundtrack to a long-forgotten film. George Benson tortures the otherwise nice "Street Tattoo" (which Stan Getz covers much better on CHILDREN OF THE WORLD).  Side one features all-vocal pop numbers. Side two is all instrumental and much more absorbing and interesting, especially "Boulevard Nights," "Dolor" and the pretty "Last Act."

CHILDREN OF THE WORLD / Dec. 20-21, 1978 and March 1979 / Columbia   
By Stan Getz - Composed, arranged and conducted by Lalo Schifrin (except for the unbearable and too-politically inappropriate "Don't Cry For Me Argentina"). Pleasant, lightweight tunes played with slick prettiness by Mr. Getz. In their second and final collaboration, Getz and Schifrin pull off a nice set of easy-listening Schifrin originals. Most memorable are "Street Tattoo" (from BOULEVARD NIGHTS), "Around the Day in Eighty Worlds" (which Jon Faddis re-interprets quite nicely on Schifrin's FIREBIRD) and "The Dreamer." All in all, it makes for exceptionally good light jazz but it shies a bit away from being entirely memorable.

NO ONE HOME / c. 1979 / Tabu  
Heavily disco-oriented pop outing by Schifrin with lyrics and vocalists on every track. Nothing too memorable. But "Memory of Love" (with lyrics by Maya Angelou and later resurrected as an instrumental under the title "Justine") and "Middle of the Night" have worthwhile moments buried underneath the vocals.

FIRE AND ICE / c. 1979 / Butterfly  
Pure disco, presumably intended for clubs and the single male. There's no artist or group credited here. Schifrin wrote the music and produced (wife Donna is co-writer of the lyrics) and someone named Elton Ahi handles most of the instrumental chores. Surprisingly dull, given the perky beats and Schifrin's involvement. One of the ballads, "Enchanted Flame," is also covered by Schifrin on NO ONE HOME.

NIGHT FLIGHT / unknown date / Avanz  
Schifrin did no more than produce this all-disco date (probably in or around 1979) but did none of the composing, arranging, conducting or even any of the playing he's often alleged to do here. Still, it's pretty good for disco, if that's your bag. The titles favor a flying theme ("Turbulence," which was the name of the original album, "Supersonic," Ticket to Tomorrow") and the vocalists 'ooh' and 'ahh' throughout as if it was the greatest sexual thrill ride imaginable. Honestly, though, it stands strong among most European disco of the era.

THE AMITYVILLE HORROR / 1979 / American International  
Like Bernard Herrmann and Ennio Morricone, Lalo Schifrin creates symphonic film scores that seem to resonate more with sounds for the ages than his intended classic works. The Amityville Horror, unlike the b-film it accompanies, is such a masterpiece. This is a haunting, lyrical suite, obviously indebted to Herrmann (an early Schifrin influence, and later a friend). But, thankfully, inspired in intelligent, exploratory ways. Rumor has had it for years that much of this music was recycled from Schifrin's rejected score to The Exorcist (1973). While this is clearly not true,  it's not too difficult to hear how ideally this music could have suited William Friedkin's classic. The sing-song theme of this cheeky 1979 thriller, sung with gentle gasps and childish la-las of a female voice, is insanely memorable. Admittedly, it possesses you. An unpredictable storm of strings and unfamiliar sounds bring the chills home. A worthy disco version of the theme is also included and not entirely out of place either. For the record, Schifrin has scored many of director Stuart Rosenberg's other films: Brubaker (1980), Love and Bullets (1979), Voyage of the Damned (1976), WUSA (1970) and Cool Hand Luke (1967). The Amityville Horror is among some of the finest orchestral work Schifrin has ever done. Re-recorded by the composer in 2002 - without the great disco variation, but, however, with quite a few newly issued themes from the magnificent score - for his own Aleph label. Jon Burlingame contributes typically informative and incisive notes to the CD.

ESCAPE TO ATHENA / 1979 / Seven Seas  
The silly, laborious film was a real dog and featured a motley crew of b-listers including Roger Moore, Telly Savalas, Elliott Gould and Sonny Bono. Schifrin's lovely Greek-inspired score, on the other hand, is a work of genuine depth, well-considered passion and intellectual beauty. Initially issued on LP only in Japan, the main theme is a gorgeous, infectious slice of Schifrin brilliance, entirely steeped in his study of Greek folk music and a catchy drone that offers the film something far greater than it deserves. The soundtrack also features hit-makers-of-the-moment, Heatwave, doing an incongruous disco-fied "Keep Tomorrow For Me" (presumably composed by Schifrin). Rarely heard, but one of Schifrin's masterpieces of film music. 

AIRPORT '79 - THE CONCORDE / 1979
One of the dumbest big-budget films of the 1970s gets suited with a cast of TV hams and international film stars of questionable merit doing their best to act serious and surprised by unbelievable misfortunes aboard the world's fastest plane. Lalo Schifrin provides a high-octane number of dramatic orchestral cues to complement the action, including a majestic "news at 11" main theme (heard on a 1979 45-RPM release on the MCA label that also features a silly disco song not heard in the film). Schifrin also scored director David Lowell Rich's films See how They Run (1965), The Mask Of Sheeba (1969) and Eye Of The Cat (1969) as well as producer Jennings Lang's films The Sting II (1983), The Nude Bomb (1980), Nunzio (1978), Rollercoaster (1977) and Charley Varrick (1973). 

LOVE AND BULLETS / 1979
The fifth of six films Lalo Schifrin scored for director Stuart Rosenberg is an action adventure starring Charles Bronson and his wife, Jill Ireland. The hammy acting by all involved is overshadowed by some genuinely affecting moments (including Rod Steiger as a Mafia don with a speech impediment and a slightly sentimental streak), well-photographed scenes and one of Schifrin's more melancholy action scores. The main theme interchanges the orchestra and cymbalom (evoking a mysterious Switzerland, where much of the action unfolds) with the 'ol Western guitar and harmonica cliché (representing Bronson's Arizona homestead and his Clint Eastwood-inspired modern cowboy cop). Listen to the end title to hear the beauty of Schifrin's moody theme. 

SERIAL / 1980 
A funny and long-forgotten film that lampoons the 1970s-era Northern California "Me Generation." Schifrin's music here is, perhaps appropriately, less a score than a series of good, yet brief disco and rock-inflected source cues. The music never found life on a soundtrack album, even though the bland theme song, "A Changing World" (with lyrics by Norman Gimbel), is rather blandly sung by second-tier pop star Michael "Bluer Than Blue" Johnson. Serial was produced by Sidney Beckerman, who also produced the Schifrin-scored films Kelly's Heroes (1970), Joe Kidd (1972) and the TV film, A Stranger Is Watching (1982).

WHEN TIME RAN OUT / 1980
Lalo Schifrin's orchestral style had clearly developed a signature by this point - audibly evident in his scores for the other films of James Goldstone (1931-1999): Rollercoaster (1977), Rita Hayworth: The Love Goddess (TV: 1983) and Earth*Star Voyager (TV: 1988). Occasional nods to the styles of both Bernard Herrmann (who did several of the similar, yet somehow more believable, fantasy films of Ray Harryhausen) and John Williams (who scored three of producer Irwin Allen's previous disaster films) seem inevitable. But the score, like the film, amounts to less than the sum of its pricey parts.

THE COMPETITION / 1980 / MCA   
The score, unlike the corny film, is quite highly regarded - and caused Schifrin to explore the rewards of conducting orchestras hereafter. But, despite the presence of some Beethoven and Prokofiev, it is not altogether memorable. Schifrin's pieces are a bit dry - classical wannabes - and the pop is a little too sugary.

THE BIG BRAWL / 1980 / RCA   
Schifrin's theme to this film stands as one of his most memorable ever. This soundtrack, released on vinyl only in Japan, contains much that is reminiscent of Schifrin's big-band Verve dates from the mid 60s. Although the personnel remains unknown, some excellent jazz players are clearly involved. Many variations of the catchy theme are here - and some great unidentified performances are too. 

THE NUDE BOMB / c. 1980
Garish farce looks and feels like the many 60s-era Technicolor Bond spoofs, which pre-date the far superior Austin Powers films. Schifrin's mostly cool score, though, makes it sound like a mid 70s cop show. The film features the Donna Summer-like disco theme, "You're Always There," sung by ex-Raylette Merry Clayton with lyrics by Bond wordsmith Don Black and several nice - and appropriate - cues in homage to John Barry, John Williams and Bernard Herrmann. The Nude Bomb is another one of the Jennings Lang productions Schifrin scored - The Sting II (1983), Airport 79 (1979), Nunzio (1978), Rollercoaster (1977) and Charley Varrick (1973) - and the second Don Adams project Schifrin worked on after the remarkably unfunny TV series, The Partners (1971).

THE CAT STRIKES AGAIN . . . / LaserLight / July 1980  
By Jimmy Smith - Arranged and Conducted by Lalo Schifrin. The best and most popular of Lalo Schifrin's collaborations in the 1960s (Dizzy Gillespie, Stan Getz, Sarah Vaughan, Paul Horn and Jimmy Smith) resulted in follow-up recordings beginning in the late 70s. Perhaps because of the infusion of disco at the time, most of these reunions were much less than spectacular. I find this one, reissued on CD on a low-budget label but now out of print again, to be an exception. Jimmy Smith, at the time suffering from a where-is-he-now career slump due to the proliferation of electronic keyboards, sticks mostly to organ here and plays some great Schifrin themes: "The Big Brawl" (from the Jackie Chan film Schifrin scored), "Down Here on the Ground" (one of the better versions from COOL HAND LUKE) and "Free Ride" (a much-improved, still-disco version of the Gillespie-Schifrin tune). Smith's "Layin Low," "Where is Magdalena?" and the out-blues of "In Search of Truth" are great too. Features Ronnie Foster on piano, Howard Roberts and Dennis Budimer on guitar, Ray Brown on bass and Grady Tate on drums. A great outing.

CAVEMAN / 1981  
Lalo Schifrin's score to this little-known Ringo Starr film from 1981 was first issued on the composer's Aleph label some two and half decades later in 2005. While it is a surprising choice to receive soundtrack treatment, there is little doubt that CAVEMAN ranks as one of Schifrin's best and most memorable scores from the Eighties. The film is completely without dialogue, so Schifrin's music must fill up a lot of space. Indeed, Schifrin contributed 68 cues, covering nearly 65 minutes of film time. Here, as in Schifrin's previous Aleph release, LES FELINS, producer Nick Redman combines and edits the cues into a mere 10 titles, unfortunately leaving out about 10 minutes of music. Perhaps the most unforgivable fault here is the way the caveman's chant, depicting the birth of music itself (!), is whittled down to a blip in the Main Title's collection of cues. This infectious delight, which is a real joy to see depicted in the film, is so memorable that it effectively serves as the film's primary theme. As presented, though, it sounds like little more than a riff that's merely part of Schifrin's overall creation. And what a creation. Schifrin's craftiest orchestral writing is on display here. He weaves high strings (or reeds) and low horns together with harp and percussion flourishes to magically suggest many of the most basic human motions and emotions. He also works his tongue into his cheek by appropriating such "Jurassic classic" references to Ravel's "Bolero" and the 2001 theme (among others), a beautiful nod to the the film's classic slapstick quality. Such a rousing score certainly deserved a better presentation than this.  

INS AND OUTS / March 29 & 30, 1982 / Nautilus   
A nice quintet session featuring Schifrin's piano (no synthesizers) and Sam Most's flutes. Nice to hear Schifrin playing in a small group, but no fireworks. While the album was one of the earliest CD releases on the Nautilus label, it was reissued on CD in 2003 by Schifrin's Aleph label with a live performance in New York titled INS AND OUTS AND LALO LIVE AT THE BLUE NOTE.

SUDDEN IMPACT AND THE BEST OF DIRTY HARRY / 1971-1983 / Viva   
This LP contains some of the major themes from four of the Dirty Harry films released through 1983. Released in 1983 on Clint Eastwood's short-lived Viva label, expanded in 2002 for Schifrin's DIRTY HARRY ANTHOLOGY CD and made moot by 2008 with the release of the complete scores to all four of the films covered here.

THE OSTERMAN WEEKEND / 1983 / Varese Sarabande / Aleph
This worthy pop-jazz collection will appeal as easily to Schifrin's late 70s jazz listeners as his Hollywood fans. The nicely-varied score also suits Sam Peckinpah's last film ideally, mixing suburban easy-listening jazz with appropriately electronic action and conspiracy cues. The 1999 Aleph CD retains the excellent cover art from the 1983 Varese LP and adds six titles ("Water Games," "The Face of Death," "Love Theme," "Conspiracy Waltz," The Conspirators," "Jesus Loves Me") to the LP's original ten. The dominant themes ("Osterman Weekend," "Face of Love") are strong, melodic and typically memorable. But the best tracks are "Status Symbol," "The Face of Death" and "Omega."

LALO SCHIFRIN/VILLA-LOBOS: GUITAR CONCERTOS / Angel Romero / 1984 / Angel   
Schifrin's compelling Concerto for Guitar & Orchestra, written especially for the soloist featured here, is a thoughtful and lovely work. The first movement, "Allegro Moderato E Maestoso," weaves together many of the themes Schifrin so brilliantly explored in his marvelous score for The Four Musketeers. But, here, he rethinks the context and provides Romero with a sensitive, romantic canvas which departs from the source in the second and third movements. Romero performs Schifrin's concerto on side one, and Villa-Lobos' Concerto for Guitar & Small Orchestra on side two. Deserves to be issued on CD. 

A.D.- ANNO DOMANI / December 1984 / BBC   
A complex orchestral score, this cross-section of music from the BBC-TV series well represents Schifrin's estimable compositional talents. Unfortunately, as successfully evocative as it sets out to be, the score seems too heavily indebted to the magisterial influence of the prolific Ennio Morricone - especially when the choir is deployed. Perhaps the problem is that the music is suited more to enhancing dramatized emotions (of love, uncertainty, cruelty, madness and faith as Schifrin states on the cover's liner notes) than exploring the emotions. With great subtlety, however, Schifrin weaves strings and winds into a seamless, dramatic force and continues showing his outstanding talent for affective, memorable themes ("A.D. Main Theme," "The Fisherman"). Interesting, just not engrossing.

BLACK MOON RISING / 1986  
Excellent 80s style action score for this great Tommy Lee Jones action feature that also includes an oily performance by personal-injury pitchman Robert Vaughn - seen in other Schifrin-related works: The Man From U.N.C.L.E., The Venetian Affair and Bullitt. 

THE FOURTH PROTOCOL / 1987 / DRG   
One of the few occasions Schifrin has used an orchestral setting for an action film, The Fourth Protocol is slow to reveal its charms. But the charms are there, tucked away though they may be ("Fourth Protocol," "Uranium I, Uranium II, How About A Drink?, Heathrow" and "Windows" especially). The theme itself suggests a threat (a war cry or a death chant?) and Schifrin brilliantly uses woodwinds (in unison) and a panoply of strings to imply the tension in the drama's basic counterpoint. An observation may be in order here: If Bernard Herrmann had scored Mission: Impossible, it might sound something like this. 

LALO SCHIFRIN CONDUCTS STRAVINSKY, SCHIFRIN AND RAVEL / 1988 / Aleph
This is an exact reissue of LES SOLISTES FRANCAIS, a 1988 performance issued on the French Cybelia label. Schifrin himself gives this lovely performance a wider hearing now, simply having secured the rights for issue on his own Aleph label. Beginning with Stravinsky's sprightly animated "Petrouchka," it is clear to see where its conductor derives inspiration for his more orchestral film scores. Schifrin's own 25-minute double bass concerto, commissioned and performed here by bassist Gary Karr, makes for a logical and equally dynamic progression. The darkness of the bass's deeper countenances is nicely balanced with an inventive number of the composer's lighter touches for orchestra. Considered as a film score with the double bass as a star, this makes for one of Schifrin's stronger and more buoyant full-scale compositions. The orchestra is brought back out front for Ravel's effervescent and highly entertaining "Ma Mere l'Oye," another animated work one believes Schifrin must love to conduct (passages of this piece and the Stravinsky piece surely had great effect on Bernard Herrmann, another Schifrin influence). This is a lovely record, graceful throughout and more often than not, entertainingly engaging.

CANTOS AZTECAS / 1988 / Pro Arte / Aleph
Unusual and not altogether successful cantata featuring Placido Domingo. Based on the poetry of the twelfth century Aztec prince Nexahuacoyotl, this six-part operatic outing was recorded live in October 1988 at the Pyramids of Tcotihuacan, Mexico. Only the last two movements, "Zan te te yamelli" and "Ma oc on ichiuhthua," have that attention-rousing originality Schifrin is known for. Domingo sounds fine and the Mexico Philharmonic Orchestra and Chorus are recorded wonderfully well. Unfortunately the concept here is more interesting than the execution.

BERLIN BLUES / 1988 / Milan   
A FOOTLOOSE-meets-FAME hodge-podge that features all the diversity of singer/actress Julia Migene's capabilities: from techno pop ("Ain't Seen Nothing Like Me") and theater-style dramatics ("Musicians") to smoky jazz ballads ("Will I Ever Know") and Mozart. Schifrin scores six equally diverse instrumentals, highlighted by the film's set piece ("Musica," a variation of "You Could Be The Song") and the exceptional jazz ballad, "Cadenza Variations." It never became the pop hit it was intended and perhaps deserved to be. But BERLIN BLUES is exceptionally well tailored to the theater and may one day find success there.

DON QUIXOTE / 1989 / Prometheus   
It is easy to assume Schifrin’s score to this 1989 Spanish television film has much in common with his music to The Four Musketeers (1974). Unfortunately, it doesn’t. The superior Musketeers score has much more memorable moments. More disappointingly, Don Quixote is saddled with a theme (repeated several times) that sounds like a Western version of the “Theme From Star Trek.” Otherwise, this score – much of which the film’s director chose not to use in the film - possesses several nice passages that, despite the resources of the entire Madrid Symphony Orchestra, depend on only a few instruments interacting with each other at one time. Of note are the medieval delight, “The Shepherds,” the hypnotic “Arabian Dance” and the Bernard Herrmann-esque “Windmills or Giants?”/”Don Quixote And The Books.” The film’s producer, Emiliano Pedra, also collaborated with Schifrin on Berlin Blues. Interesting, but not essential.

HITCHCOCK MASTER OF MAYHEM / Aug. 2 & 3, 1990 / Pro Arte/Intersound   
Excellent orchestral CD featuring arranger and conductor Lalo Schifrin's take on seven well-known Hitchcock scores (honoring the originals quite well) as well as outstanding updates of his own "Bullitt," "Mannix," "Mission: Impossible" and "Dirty Harry" themes. Reissued in 1997 in "home theater" sound as Masters of Mayhem, with a reproduction of Edward Munch's painting, The Scream, on the cover (inspiration for the production design of the music-less Hitchcock thriller, The Birds). Either way, highly recommended. 

ROMANCING THE FILM / c. 1991-92 / Pro Arte   
A symphonic compilation of recognizable tunes associated with popular movies, ROMANCING THE FILM is neither necessary nor interesting. Indeed, none of the performances rate much of a mention other than William Braughton's playfully arranged "Little Mermaid Medley" and Schifrin's after-hours version of "As Time Goes By" (which he also plays on 1992's JAZZ MEETS THE SYMPHONY and 1995's filmclassics). The fact that his piano here is muffled and distant implies romantic reverie and shows Schifrin is constantly aware of his music's ambiance. Otherwise, it would be difficult to see where or how Schifrin had anything at all to do with this project were his name not prominently on the cover.

AMIGOS PARA SIEMPRE- FRIENDS FOR LIFE / 1992 / Atlantic   
A warm, well-conceived collection of romantic pop songs featuring Jose Carreras's sincere and sensitive interpretations, aided by Lalo Schifrin's deft and delicate arrangements. Because Carreras, in Johnny Mathis territory here, sounds comfortable singing this material, the overall effect is similar, but superior, to the medleys Schifrin arranges for the Three Tenors, in which Carreras also participates. Appropriately, most of the songs here are known from their affiliation to film and television shows. Schifrin contributes two of his own themes, the memorable "La Verdad de tu Amor" (theme from THE FOX with Spanish lyrics added) and the surprisingly synth/guitar driven anthem "Share the Dream" (from 1994's MANHATTAN MERINGUE). He also contributes exquisite interpretations of "Insensatez" (first performed on 1962's PIANO, STRINGS & BOSSA NOVA), "Besame Mucho," "Les Feuilles Mortes (also on FILMCLASSICS) and a "Bolero"-like reading of "Et Maintenant."

JAZZ MEETS THE SYMPHONY / Nov. 1992 / Atlantic   
An inevitable move for a classically-trained composer and conductor with a predilection for the improvisational nature of jazz, this CD is the first in Schifrin's "jazz meets the symphony" series, if one discounts the superior NEW FANTASY (1964) and MARQUIS DE SADE (1966). Suites include tributes to Duke Ellington and Dizzy Gillespie, popular Schifrin tunes and familiar standards. As an orchestrator, Schifrin attempts to break the barriers which too often prevent jazz and the classics to interact. The first of six sets (so far) is perhaps the least successful. But Schifrin's own "Bach to the Blues" and the fascinating "Brush Strokes" (which weds variants of Schifrin's "The Big Brawl" theme with his "Variations," a staple from the first season of MANNIX) are certainly worth hearing. With Ray Brown and Grady Tate. A Grammy Award winner.  (See also: JAZZ MEETS THE SYMPHONY COLLECTION).

THE BEVERLY HILLBILLIES / 1993  
Schifrin's title sequence, oddly reminiscent of Ry Cooder, is beautiful; too good for such a pointless, juvenile comedy film. 

MORE JAZZ MEETS THE SYMPHONY / December 1993 / Atlantic   
On this disc, Schifrin's classical-jazz marriage rises above the odds against its success. The two long suites included here are tremendously appropriate tributes to both Miles Davis and Louis Armstrong. In each case, Schifrin's orchestrations are sensational and exciting and stay true to the contexts he explores. The remainder of the program is seemingly familiar, yet the way Schifrin's arrangements dress them up is something new and fascinating. Schifrin's infrequent piano is like a sly character sneaking in and out - with witty comments each time he makes himself heard. The addition of James Williams, Paquito D'Rivera and Dizzy-heir Jon Faddis contributes tremendously. Bassist Ray Brown, on the other hand, is sublime and the session's real star. Highly recommended.  (See also: JAZZ MEETS THE SYMPHONY COLLECTION).

FIREBIRD / January 1995 / Four Winds   
With Schifrin's third in a series of "jazz meets the symphony," his jazz mates and the London Philharmonic Orchestra honor Fats Waller and, in an especially well-conceived suite, Charlie Parker and Charles Ives. The gems here, however, are the less weighty tunes: Joe Zawinul's "Birdland," a take of "Mission: Impossible" wedded to the world's second most famous 5/4 tune, "Take Five," and the baroque swing of "Eine Kleine Jazz Musik" (an instrumental version of Schifrin's cool "Beneath A Weeping Willow Shade"). "Firebird" was nominated for a Grammy Award in 1997. Hard to find on its own, but this worth