#composer lalo schifrin

[archivist-crow]

Portishead - “Sour Times” (1994)

Thirty years ago today, on August 1, 1994, Portishead released “Sour Times,” the second single from their debut album, Dummy. Using as its base a sample from Argentine composer Lalo Schifrin's "Danube Incident" from the 1967 album More Mission: Impossible, the song exemplifies the cinematic melancholy of the band’s sound. It is to date the band’s only song to chart in the US, peaking at number 53,

[yankee-cuzinz-love]

Limp Bizkit - Take A Look Around (Official Music Video) / Mission: Impossible 2 Theme [Upscale 4K]

Chocolate Starfish And The Hot Dog Flavored Water ℗ 2000 Interscope Records Released on: 2000-10-17 Producer: Limp Bizkit Studio Personnel, Mixer: Brendan O'Brien Composer Lyricist: Lalo Schifrin Composer Lyricist: Fred Durst The Location: Johnie's Broiler, renamed in 2009 as Bob's Big Boy Broiler, is a restaurant located in Downey, California, that opened in 1958. Video Directed by Fred Durst.

[nelson-riddle-me-this]

who are your fav tv composers? Or any notable tv soundtracks you wanna talk about?

Ooh wonderful question Chuck!

So I'm partial to old TV jazz composers. There used to be so much jazz on television in the 60s and 70s. Lalo Schifrin's old Mission: Impossible Scores, I'm a big fan of Pete Rugolo. Pete wrote for the Stan Kenton band before he got into TV and his sound is very much what I want musically for one of my OC's... Oliver Nelson is another great name in TV jazz underscore - the 6 Million Dollar Man theme, theme from a show called LONGSTREET, and other stuff I don't remember rn oh yeah an episode of Columbo!

I'm also a big fan of 90s Warner Animation TV scores. Shirley Walker was the lead composer on the action shows like Batman: The Animated Series and Richard Stone was the lead on thr cartoony comedies like Animaniacs. Really outstanding orchestral music. Feature-quality and the kind you don't really get on TV anymore.

There's some great anime TV music too. Sailor Moon and Inuyasha both have great music. Sailor Moon is very much in a sparkly pop-action style. Some of it's like disco as seen from the early 90s. There's also other jazz stuff and I'm pretty sure I heard a cue modeled after the Perry Mason Theme once.. Lots of different styles including like hipper jazz fusion influences. Inuyasha is more on the traditional symphonic action side mixed with traditional(/quasi-traditional?) Japanese elements.

Yeah 3 paragraphs is enough for now!!

[brookstonalmanac]

Birthdays 6.21

Beer Birthdays

Chuck Cook

Five Favorite Birthdays

Berkeley Breathed; cartoonist (1957)

Ray Davies; rock singer, songwriter (1944)

Rockwell Kent; illustrator, artist (1882)

Jean-Paul Sartre; French philosopher (1905)

Lalo Schifrin; Argentine pianist, composer (1932)

Famous Birthdays

Alicia Alighatti; porn actor (1984)

Johann Christoph Friedrich Bach; composer (1732)

Meredith Baxter; actor (1947)

Jim Breuer; comedian (1967)

Sindee Coxx; porn actor (1970)

Ron Ely; actor (1938)

Joe Flaherty; comedian, actor (1941)

Michael Gross; actor (1947)

Mariette Hartley; actor (1940)

Al Hirschfeld; cartoonist (1903)

Judy Holliday; actor (1921)

Bernie Kopell; actor (1933)

Juliette Lewis; actor (1973)

Nils Lofgren; rock guitarist (1951)

Mary McCarthy; writer (1912)

Robert Pastorelli; actor (1954)

Chris Pratt; actor (1979)

Jane Russell; actor (1921)

Doug Savant; actor (1964)

O.C. Smith; jazz singer (1932)

Maureen Stapleton; actor (1925)

Henry Tanner; artist (1859)

[musicthyme]

"Hitchhike" by Gerald Fried from ODDS ON EVIL, s1 e6 of Mission: Impossible (1966-73) contains "Theme from Mission: Impossible" composed by Lalo Schifrin

[oldshowbiz]

That time Lalo Schifrin composed a score for a Jerry Lewis movie

[projazznet]

Lalo Schifrin – Lalo = Brilliance (The Piano Of Lalo Schifrin)

Lalo = Brilliance (subtitled The Piano of Lalo Schifrin) is an album by Argentine composer, pianist and conductor Lalo Schifrin recorded in 1962 and released on the Roulette label. The album was one of Schifrin’s earliest solo albums and features musicians from Dizzy Gillespie’s band.

[clockwork--comet]

i feel bad for modern composers. they have to compete with lalo schifrin's entire body of work

[bigbrainkatrina]

Better Call Saul Season 5 || Jim on the Move

This video breaks the rule of the song is from the season we're showcasing here. Largely because IMO there isn't any particular song that sticks out in Season 5 to me, and because Season 6 is full of bangers. "Jim on the Move" is from the Mission Impossible soundtrack (the TV show, composed by Lalo Schifrin, who is Lalo Salamanca's namesake) and appears in "Nippy."

It's a really lovely song with such a fun rhythm. Great to cut to. And I felt like it really matched the steadily building-then suddenly explosive vibe of Season 5. Also can we talk about how Season 5 is gorgeous? It looks totally different from the rest of the show, I love it. Apparently, it's because they switched cameras. I want to know more about why they changed how the show is lit though, I've never seen them talk about that.

[lboogie1906]

Clarence Alexander Avant (born February 25, 1931) is a music executive, entrepreneur, and film producer, who also goes by the name of "The Black Godfather". He managed R&B singer Little Willie John, jazz singer Sarah Vaughan, Kim Weston, Luiz Bonfa, Wynton Kelly, Freddie Hubbard, Curtis Fuller, Pat Thomas, rock and roll pioneer Tom Wilson, whom he partnered with in the Wilson Organization, jazz producer Creed Taylor, jazz musician Jimmy Smith and Argentine pianist-composer, Lalo Schifrin. He incorporated Avant Garde Enterprises, Inc. on November 7, 1962, in NY, the same month that Smith became a client of Associated Booking, and originally had offices at 850 Seventh Avenue. Schifrin and Smith collaborated to make The Cat. He opened a West Coast office to accommodate the growing motion picture soundtrack assignments offered to his clients. During his years in NY, Avant served as an advisor, board member, and executive of the National Association of Radio Announcers, later the National Association of Television and Radio Announcers, and as a consultant to PlayTape, a two-track tape cartridge system developed by Frank Stanton, and first marketed by MGM Records Avant incorporated Sussex Productions, Inc. in New York, an independent record production firm with artists Four Hi's, Johnny Nash, Terry Bryant, Billy Woods, and the Judge and the Jury. #africanhistory365 #africanexcellence https://www.instagram.com/p/CpFpy3VrdKw/?igshid=NGJjMDIxMWI=

[fireballtimgarage]

ROBERT DUVAL driving the Lola T70 for George Lucas' Senior Thesis USC film THX1138...

Yes, Fireball will be sketching this one too...

DID YOU KNOW?? Lalo Schifrin composed the avant-garde music for the film. He also did ENTER THE DRAGON, BULLITT and all DIRTY HARRY'S. Plus hundreds more. #fireballtimgarage #automotivepopculture

[coolcarsntrucksngunsnusa]

In the opening chase sequence of "Bullitt" (1968), a dark green 1968 Ford Mustang GT tears through the steep, undulating streets of San Francisco. The roar of the engine echoes off brick walls as Steve McQueen’s Lieutenant Frank Bullitt tightens his grip on the wheel. This electrifying scene isn’t just a cinematic moment; it’s a masterclass in coordination, precision, and raw power that has since redefined the action genre. But creating such an iconic sequence and the movie as a whole was no easy feat.

The production of "Bullitt" was as intense and gripping as the film itself. Directed by Peter Yates, a British filmmaker known for his work on "Robbery" (1967), the film was a leap into uncharted territory for American cinema. Yates’s expertise in staging realistic car chases was one of the key reasons McQueen fought to bring him on board. McQueen, who also served as the film's co-producer, was deeply involved in every aspect of the production, ensuring that "Bullitt" reflected his vision of an uncompromisingly cool and gritty detective story.

The screenplay, written by Alan R. Trustman and Harry Kleiner, was based on the novel Mute Witness by Robert L. Fish. The film retained the core story but took creative liberties to suit the cinematic format. McQueen envisioned Frank Bullitt as the embodiment of realism someone who could exist in the real world of law enforcement, without the theatrical flair often seen in Hollywood's portrayal of cops.

One of the standout elements of "Bullitt" is its setting. San Francisco wasn’t just a backdrop; it was a character in its own right. The city’s steep hills and narrow streets provided a natural stage for the now-legendary car chase. To capture the city’s essence, Yates worked closely with cinematographer William A. Fraker. They employed handheld cameras, unique angles, and a subdued color palette to create a gritty, almost documentary-like aesthetic. The result was a visual style that was both grounded and striking.

Of course, no discussion of "Bullitt" would be complete without diving into the 10-minute car chase that has become one of the most celebrated sequences in film history. Filming this scene was an enormous challenge that required weeks of preparation. The cars the Mustang GT driven by McQueen and a black Dodge Charger R/T were modified to handle the rigorous demands of the chase. McQueen, known for his love of racing and stunts, insisted on driving the Mustang himself for most of the sequence. His passion for authenticity pushed the crew to their limits, as McQueen wanted the audience to feel the speed, danger, and adrenaline.

The sequence was meticulously planned but executed with a sense of controlled chaos. Legendary stunt coordinator Bill Hickman, who also played the driver of the Charger, was instrumental in choreographing the chase. Hickman, along with McQueen and Yates, worked out every skid, jump, and hairpin turn, ensuring that the action felt spontaneous yet cohesive. To capture the speed and danger up close, camera rigs were mounted on the cars, and chase vehicles with cameramen strapped in captured the high-speed action. The result was a visceral, pulse-pounding experience that left audiences on the edge of their seats.

Behind the scenes, McQueen’s perfectionism sometimes clashed with the production schedule. He demanded multiple takes of certain scenes, particularly during the chase, to ensure every shot was flawless. This dedication extended to his wardrobe as well. McQueen worked with costume designer Theadora Van Runkle to craft Frank Bullitt’s iconic look most notably, the turtleneck sweater and tweed blazer that became synonymous with McQueen’s cool, understated style.

The film’s soundtrack, composed by Lalo Schifrin, also played a crucial role in defining its tone. Schifrin's jazz-inspired score underscored the tension and rhythm of the film, particularly during the quieter moments. His use of brass instruments and syncopated rhythms created an atmosphere that was both edgy and sophisticated.

Production wasn’t without its challenges. Filming in San Francisco came with logistical hurdles, as the city’s bustling streets and steep terrain posed risks to both the crew and equipment. The city itself, however, was highly cooperative, granting the filmmakers access to key locations. The final chase sequence was shot in multiple parts of the city, with clever editing stitching together footage to make the geography seem seamless. Observant viewers may notice that the cars pass the same landmarks more than once, a minor continuity issue that has since become part of the film’s charm.

Despite the meticulous planning, there were moments of genuine danger. During one high-speed section of the chase, a camera car was nearly hit, and on another occasion, a stunt driver lost control momentarily. These incidents only added to the adrenaline-fueled atmosphere on set, with every participant acutely aware that they were creating something groundbreaking.

The film’s final hospital sequence, which ends with Bullitt facing off against the villain on the tarmac at San Francisco International Airport, also required careful coordination. The airport granted the production limited access to its facilities, and the crew had to work quickly to capture the tense, climactic showdown without disrupting actual airport operations.

[nsfwmiamiart]

Part 10 - Incoming Text for Chloë Sevigny (@chloessevigny): “An Idea Worth 800 Million Dollars”

Question:

Could you explain to Chloë Sevigny the importance of creating a memorable theme song for the Sneakers reboot? Discuss how this theme song could help establish a successful franchise similar to Mission: Impossible, and provide point-by-point explanations of its significance. Additionally, mention the original Mission: Impossible Theme composed by Lalo Schifrin and emphasize the potential for a catchy theme that resonates with audiences, contributing to the film’s recognition and longevity.

Here is the Wikipedia link to the Mission: Impossible Theme: Mission: Impossible Theme - Wikipedia. (click on the blue link) - This page includes information about the composition, history, and cultural impact of the iconic score created by Lalo Schifrin.

Here are the Wikipedia pages for Denzel Washington and the film Sneakers:

Denzel Washington – (click on the blue link)

Sneakers (1992 film) – (click on the blue link)

ChatGPT Answer:

To achieve similar success to the Mission: Impossible franchise, the Sneakers reboot can develop a recognizable soundtrack that resonates with audiences, akin to the iconic “Mission: Impossible Theme” composed by Lalo Schifrin. This theme not only enhances the film’s identity but also creates a sense of anticipation and excitement.

Creating a unique theme song for the Sneakers reboot can establish a signature sound that audiences associate with the franchise. A well-crafted score can elevate the film’s emotional impact and enhance its memorability, driving interest in sequels and merchandise, similar to how Mission: Impossible has thrived on its musical legacy.

Creating a memorable theme song for the Sneakers reboot is crucial for establishing a successful franchise similar to Mission: Impossible. Here’s a detailed breakdown of its importance:

Brand Identity: A distinctive theme song helps forge a strong brand identity, much like the Mission: Impossible Theme. This auditory cue can evoke instant recognition and familiarity, drawing audiences to future films.

Emotional Resonance: Music significantly influences emotional responses. A well-composed score can enhance tension, excitement, and engagement, making key scenes more impactful and memorable.

Cultural Impact: Iconic soundtracks can penetrate popular culture, leading to widespread recognition beyond the films. This can generate discussions, social media buzz, and increased audience interest.

Franchise Longevity: By consistently utilizing a recognizable theme, the franchise can maintain continuity across sequels, creating a cohesive experience for viewers. Each film can innovate while still resonating with the established sound.

Marketing Opportunities: A popular theme song opens avenues for merchandising, licensing, and promotional campaigns. Similar to Mission: Impossible, which features the theme in trailers, video games, and merchandise, the Sneakers franchise can capitalize on this with strategic marketing initiatives.

To solidify this strategy, the creative team should aim to develop a theme song that reflects the film’s essence while being catchy and dynamic. This could invite comparisons to the high-energy, suspenseful feel of the Mission: Impossible score, ensuring that audiences associate the music with thrilling heist adventures.

By focusing on these elements, the Sneakers reboot can pave the way for a lucrative franchise, leveraging the power of music to enhance its storytelling and audience connection.

Here is the full theme song on YouTube: Tribute all Mission Impossible Theme 1 2 3 4 5 6 + TV Serie

[nelson-riddle-me-this]

Top 5 film scores from before 2000

North By Northwest (1959) - Bernard Herrmann

My fave score by one of THE giants of film scoring. Though Vertigo is more iconic, NBNW has the requisite Herrmann darkness and moodiness, but it's brighter and more fun. The rousing fandango action theme, and the tender love theme as heard in the cue "Conversation Piece" are standouts.

Enter The Dragon (1973) - Lalo Schifrin

Rewatched this at the TCM film festival this year and was struck by what good film scoring this is. The music itself is good, but Schifrin has such a mastery of how to write music for film. He really elevates this movie. His spotting (when/how to enter/exit/change) is elegant and insightful, and he has such a good understanding of the pace and mood of a scene. Really helps this movie be the best it can be, and it's very good!

Honorable mention: Bullitt (1968) - also Schifrin

Batman (1989) - Danny Elfman

Credit to Shirley Walker who I believe both orchestrated and conducted this score for Elfman and later became the lead composer for Batman: The Animated Series. This score defined the sound of Batman for a long time, and it's just so rich. Brooding laments, dark heroic fanfares, ironic waltzes, and a sound that feels classic yet hard hitting enough to not feel too old-fashioned (at least for 1989).

Princess Mononoke (1997) - Joe Hisaishi

There's such a sense of profundity to this score, a majesty, a darkness, and yet a warmth. It's so easy to just put on Joe Hisaishi's scores and just listen.

Sabrina (1995) - John Williams

I have great affection for this score and film. Williams' music is so intimate and gorgeous. There's also lots of ritzy party music - all of which is contained in the new expanded released by La-La Land records! It's big band + strings playing old standards. You may not love all these source tracks, and some of them feel very stock (though even then, they're played and recorded well). But when they hit, it's easy to get swept up in the earnest glamour and romance of old society dance orchestras. There are two new songs: "How Can I Remember" imo is forgettable and dated, but "(In The) Moonlight" is great. Music by Williams, lyrics by his old friends Alan and Marilyn Bergman, and vocals by Sting come together in a heady bossa nova. The main theme deserves to be counted on musical merit among Williams' best works and I really love this score.

[sheetmusiclibrarypdf]

Lalo Schifrin (born 1932)

Lalo Schifrin (born on this day in 1932)Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Lalo Schifrin – Black Widow (CTI Records – CTI 5000 - US - 1976)Track listingPersonnel

Lalo Schifrin (born on this day in 1932)

Educated by his father, Luis Schifrin, (Boris Claudio Schifrin , Buenos Aires, June 21, 1932), first violinist of the Teatro Colón Orchestra of Buenos Aires in the environment of classical music from a very young age, Lalo traveled to Paris to study classical music and jazz at the Parisian conservatory where, during the week he would study classical music, and on weekends he performed in small jazz clubs with the best jazz exponents in Europe. When he returned to Buenos Aires in the mid-1950s, he formed his own band and on a visit by the legendary trumpeter Dizzy Gillespie, passing through Buenos Aires, he has the opportunity to see him live. Dizzy, after hearing his music, offers her to travel with him to New York as his pianist and director. From that moment on, Lalo Schifrin began to compose music, writing more than 100 melodies for movies and television series. He was nominated for Grammy Awards 21 times, winning 4; He also received an ACE Award, and 6 Oscar nominations. The films and television series that contain Schifrin's most famous works are: 'Mission Impossible'; 'Kung Fu' and 'Mannix.' As a jazz musician he has shared the stage with great instrumentalists and singers such as Sarah Vaughan, Ella Fitzgerald, Stan Getz, and Count Basie among others. Throughout his long and successful career, Lalo Schifrin has performed in the best concert halls in the world such as Carnegie Hall and Lincoln Center in New York, The Music Center in Los Angeles, the Sala Pleyel in Paris, the Teatro Colón in Buenos Aires, as well as at all major jazz festivals in the United States and Europe. Schifrin made it possible for the three most important tenors of the late 20th century: José Carreras, Placido Domingo, and Luciano Pavarotti, to sing together through his arrangements and mixes so that each one's tones coincide. This highly successful series of recordings has attracted many new admirers in the world of classical music.

In 1993, Schifrin came to prominence as a composer, pianist and conductor for his series of recordings entitled 'Jazz Meets the Symphony', where he worked with the London Philharmonic Orchestra and the London Symphony Orchestra, as well as with jazz musicians Ray Brown, Grady Tate, Jon Faddis, Paquito D'Rivera, and Jeff Hamilton. Schifrin's honors include the BMI Lifetime Achievement Award (1988), the Chevalier de l'Ordre des Arts et Lettres from the French Minister of Culture, the Distinguished Artist Award (1988) from the Music Center of The Angels; the title of consultant to the President of Argentina on Cultural Issues (1998); and the appointment of Musical Director of the Los Angeles Latin Jazz Institute Festival (1999). At the time of writing this biography, Lalo Schifrin continues to compose jazz and classical music; He tours with major orchestras and works on composing music for films. In 2018, Schifrin received an Honorary Oscar for his entire professional career from the Hollywood Academy.

Lalo Schifrin – Black Widow (CTI Records – CTI 5000 - US - 1976)

https://www.youtube.com/watch?v=r3h2vv3pIN4 Black Widow is an album by Argentine composer, pianist and conductor Lalo Schifrin recorded in 1976 and released on the CTI label. Title: Black Widow Musician: Schifrin, Lalo. Accompaniments : Pepper Adams Recording Date: 1976. March 29-30 Recording Location: New York Record Label: CTI Number of topics: 12 Format: CD Instrument: Piano Style: Cool Track listing All compositions by Lalo Schifrin except as indicated "Black Widow" – 4:11 "Flamingo" (Edmund Anderson, Ted Grouya) – 4:31 "Quiet Village" (Les Baxter) – 5:45 "Moonglow/Theme from Picnic" (Will Hudson, Irving Mills, Eddie DeLange/George Duning, Steve Allen) – 6:13 "Jaws" (John Williams) – 6:01 "Baia" (Ary Barroso, Ray Gilbert) – 4:49 "Turning Point" – 3:29 "Dragonfly" – 5:45 "Frenesi" (Alberto Dominguez) – 3:53 Bonus track on CD reissue "Tabú" (Margarita Lecuona) – 4:33 Bonus track on CD reissue "Baia" (Barroso, Gilbert) – 7:44 Bonus track on CD reissue "Con Alma" – 6:30 Bonus track on CD reissue Personnel Lalo Schifrin – piano, keyboards, arranger, conductor Jon Faddis – trumpet Wayne Andre, Billy Campbell, Barry Rogers – trombone Dave Taylor – bass trombone Pepper Adams – baritone saxophone Joe Farrell – alto saxophone, flute Jerry Dodgion, Hubert Laws, George Marge – flute Clark Spangler – keyboards Eric Gale, Jerry Friedman, John Tropea – guitar Anthony Jackson – bass Andy Newmark – drums Don Alias, Carter Collins, Sue Evans, Carlos Martin – percussion Patti Austin – vocals Max Ellen, Paul Gershman, Emanuel Green, Harold Kohon, Charles Libove, Harry Lookofsky, David Nadien, Matthew Raimondi – violin Lalo Schifrin is an outstanding arranger, composer and pianist who has deservedly earned fame in his years of work composing soundtracks for TV series. "Mission Impossible", "Manix" and other renowned television series bear his signature and seal. But Lalo is, essentially, a jazz musician, and this "Black Widow" is his star album for a label, CTI, that was not lavish in offering its studies to anyone. This is a good album by an Argentine musician, who loves jazz above all music. Read the full article