Although the 1969 feature film Che! is unremarkable and not particularly memorable, it boasts a superb score by the legendary composer Lalo Schifrin that is as exceptional as it is timeless.
The controversial Che! dramatized the rise of Cuban revolutionaries Ernesto Che Guevara (Omar Sharif) and Fidel Castro (perennial movie baddie Jack Palance) as they fought to overthrow the regime of dictator Fulgencio Batista. Robert Loggia and Woody Strode also starred.
Critics were merciless: “All this movie inspires toward the Cuban Revolution,” wrote critic Roger Ebert in his review, “is excruciating boredom, accompanied by nausea.”
Not surprisingly, Che! was a flop, notable for the journeyman director Richard Fleisher (1916-2006), who helmed such popular – or auspicious – titles as 20,000 Leagues Under the Sea (1954), Compulsion (1959), Fantastic Voyage (1966). Doctor Dolittle (1967), The Boston Strangler (1968), Soylent Green (1973), Mandingo (1975), The Jazz Singer (1980) and Red Sonja (1985).
Schifrin’s original soundtrack was issued at the time on the Tetragrammaton label, then home to rock band Deep Purple’s first few albums and John Lennon and Yoko Ono’s provocative Two Virgins (1968). Tetragrammaton, which is the Hebrew name for God, was a joint venture between actor/comedian Bill Cosby, his manager, Ron Silver, and Silver’s Partner, Bruce Campbell, that had a good stretch that lasted from roughly 1968 to 1972.
By 1969, Schifrin was already a prominent name in TV and film, notable for his memorable themes to “Mission: Impossible” and “Mannix” and stand-out scores for such hit films as Cool Hand Luke (1967) and Bullitt (1968). Likewise, the Argentinian pianist and composer was hardly a stranger to Latin themes on record, in TV (“The Man From U.N.C.L.E.”) and even his 1968 score to Sol Madrid – another score that is more memorable than the film.
Che!, the score, is a brilliant, varied collection of Latin themes, featuring nearly a dozen percussionists, including the legendary Mongo Santamaria, Francisco Aguabella and Armando Peraza. (It is not clear whether one of the credited percussionists, Orlando López, is the Cuban bassist Orlando “Cachaíto” López, but it seems unlikely.) To all of this, Schifrin imposes a deft blend of strings and horns, which imbues this score with the dignity of the folk music he and his partners explore to perfection.
Schifrin has always excelled with Latin themes and such exciting pieces as “La Columna,” “Recuerdos,” “La Barraca” and the misleadingly-titled “Che (Solo Guitar Version)” illustrate his talent for providing a provocative canvas on which talented artists – even studio musicians – create some of their most evocative music.
There is simply no dud to be found in what the composer himself called the “hot Latin sounds from the rhythms and colors of Cuba, Argentina and the Bolivian Andes.”
Schifrin himself reissued Che! in 1998 on CD for his own Aleph label, with five new tracks featuring the stunning work of Argentinian guitarist Juanjo Dominguez – while, unaccountably, leaving off the traditional-sounding “Tiempo Pasado” from the original LP.
The Good Times Records label, known for reissuing jazz, rock and classical discs that have fallen through the cracks of time, like the handful of records on Lionel Hampton’s Who’s Who in Jazz label, has recently brought back Che!, aptly proclaiming that:
“This is a bold and evocative musical journey, blending Latin rhythms, avant-garde jazz, and orchestral grandeur to mirror Guevara’s revolutionary path. Independent of the film, it stands as a masterful composition—an immersive, boundary-pushing score from one of cinema’s great musical visionaries.”
The program here matches the original Tetragrammaton release (no extras) and the cover image is the same as well (the typography and typeface have been slightly altered, though). Good Times has also reproduced the musician credits here that were listed on the original LP, something pretty unusual for a soundtrack album of the period. Not even the Aleph CD credited the musicians.
But even more remarkably, the Good Times CD features a cogent, though uncredited liner note that is, well, almost too good to be true. While there is nothing exactly wrong here, the excessive plaudits, so typical of ChatGPT, surely indicate that A.I. is either the author or co-writer of the notes. Judge for yourself:
In the politically charged atmosphere of 1969, as the world grappled with the turbulent legacy of revolutionary figures, composer Lalo Schifrin embarked on a project that would encapsulate the era’s fervor and complexity. Tasked with scoring Che!, a biographical film about the iconic Ernesto “Che” Guevara, Schifrin channeled his innovative spirit to craft a soundtrack that transcended traditional cinematic music.
Born in Buenos Aires, Argentina, Schifrin was no stranger to the cultural and political landscapes that shaped Guevara’s life. His deep understanding of Latin American musical forms, combined with a rich background in jazz and classical music, positioned him uniquely to undertake this project. By 1969, Schifrin had already made significant contributions to film music, with notable works including the dynamic score for Bullitt and the iconic theme for “Mission: Impossible”.
For Che!, Schifrin sought to weave a musical narrative that mirrored Guevara’s journey—from the lush landscapes of South America to the intense battlegrounds of revolutionary struggle. The soundtrack is a tapestry of diverse musical elements: traditional Latin rhythms intertwine with avant-garde jazz improvisations, while somber orchestral passages evoke the gravity of Guevara’s mission. This fusion not only underscores the film’s dramatic arcs but also stands as a testament to Schifrin’s ability to blend disparate genres into a cohesive and compelling auditory experience.
The recording sessions were marked by Schifrin’s meticulous attention to detail. He collaborated with a cadre of skilled musicians, ensuring that each track resonated with authenticity and emotional depth. The use of indigenous instruments alongside traditional orchestral arrangements added layers of texture, capturing the cultural essence of the regions depicted in the film.
Upon its release, the Che! soundtrack garnered attention for its bold and eclectic composition. While the film itself received mixed reviews, Schifrin’s score was lauded for its artistry and innovation. Critics highlighted how the music stood independently, offering listeners a profound experience even outside the context of the film. This reception further cemented Schifrin’s reputation as a visionary in the realm of film music.
Reflecting on his work for Che!, Schifrin noted the challenges and rewards of encapsulating such a multifaceted figure through music. He aimed to honor Guevara’s legacy by creating compositions that were as complex and compelling as the man himself. Decades later, the Che! soundtrack remains a significant piece in Schifrin’s oeuvre, exemplifying his talent for capturing the zeitgeist of an era through the universal language of music.