The great Argentinian composer Lalo Schifrin — creator of such classic film and TV themes as Mission: Impossible, Mannix, Cool Hand Luke, Bullitt, Dirty Harry and others — was honored by Steinway and SACEM the same evening in Beverly Hills. First, composer-pianist Jean-Michel Bernard performed many Schifrin tunes for a private audience in the Steinway piano showroom; then the home of French consul general Christophe Lemoine was the setting for a cocktail party and award presentation on behalf of SACEM, the French performing-rights society. Here is a review of the evening’s events.
Renowned film and TV composer Lalo Schifrin turned 85 this year, and the occasion was commemorated Saturday night with a concert featuring many of his memorable themes — everything from Mission: Impossible and Mannix to Bullitt and Dirty Harry. It was a co-production of Musicians at Play Foundation and Varese Live, with proceeds benefiting the Music Fund of Los Angeles. The show consisted of nearly three hours of great big-band performances, beautifully rendered songs and rare video clips of the maestro at work; veteran Varese producer Robert Townson hosted. My review of the evening is here.
For Record Store Day (April 22, 2017), Lalo Schifrin’s Aleph Label issued a handsome, spectacular-sounding 2-LP condensation of his 4-CD My Life in Music collection from 2012, focusing on his work for films and television. I revised my original liner notes for this special, 1,000-copy limited edition, produced by the one and only Nick Redman. Here is the rundown of what’s on it, and for those of you who don’t have the CD box, it’s well worth tracking down for its 1970s Schifrin rarities (including themes from The Beguiled, Charley Varrick and Concorde: Airport ’79). I really love this set, and what a joy it is to drop a needle on a record again…
Mission: Impossible composer Lalo Schifrin says he’s given up scoring movies (maybe!) but, at 84, he is still writing potent music for the classical world. His new guitar concerto, his second for renowned soloist Angel Romero, will debut Tuesday night at the Hollywood Bowl (with Gustavo Dudamel conducting the Los Angeles Philharmonic). In this piece for the Los Angeles Times, I interviewed the five-time Grammy winner about his concerto, about writing for films vs. the concert hall, and about the enduring legacy of a 1966 TV theme that remains his most famous work. (I also talked to Romero, who laughed and said Schifrin’s guitar writing was “diabolical” — as in difficult.)
Over the past eight years, the Film Music Foundation has been interviewing composers and others active in the movie-music business — getting down their life stories, their career anecdotes, their thoughts about this curious profession. I have been privileged to conduct many of these, and the Foundation (as part of its educational initiative) has now made them available online. Visit the website here — but be ready to spend a lot of time there, because most of these interviews are between two and three hours long! So far, I’ve done songwriters Alan and Marilyn Bergman; and composers Bruce Broughton, Bill Conti, Danny Elfman, Dave Grusin, Maurice Jarre, Laurence Rosenthal and Lalo Schifrin. (Others feature such giants as Patrick Doyle, Johnny Mandel, Van Alexander and Richard Sherman.) Three more interviews are scheduled for the first quarter of 2016.
Fun last night doing a Q&A with composer Joe Kraemer, who scored the fifth film in the Mission: Impossible franchise, Rogue Nation (already on track to outpace the four previous films). The film wowed the Society of Composers & Lyricists audience at Paramount, and Kraemer was both informative and funny while regaling the crowd (mostly composers and songwriters) with the ups and downs of scoring a big summer popcorn flick. I was pleased to be able to tell him that Lalo Schifrin (composer of the original Mission: Impossible themes that Joe brilliantly applied throughout the score) loved what he had done.
Spy music from the ’60s has always been a big part of my life. I remember buying Lalo Schifrin’s two Mission: Impossible LPs (as well as his Mannix, There’s a Whole Lalo Schifrin Goin’ On, and countless other movie and jazz albums) back in the day. So it was a special thrill that La-La Land Records asked me to produce a 6-CD box set of music from all seven seasons of the original Mission: Impossible television series (which aired on CBS from 1966 to 1973). All 62 episodes with original scores (many others were “tracked” with previously recorded music) are represented, including 12 with music composed by Schifrin himself. I also wrote all the notes, chronicling the entire history of Mission music with comments about all the selections (and plenty of new information including recording dates and legendary jazz soloists who played on them).
Winner of the International Film Music Critics Association award as “Best New Archival Release – Compilation” of 2015.
Excerpts from fan reviews: “One of the best TV-score box sets ever produced… the comprehensive liner notes, the presentation, just ace!” “Exceptional. My favorite release of 2015 by a long shot. Absolutely phenomenal, from the liner notes to the sound quality to the graphic design.” “A thousand cheers to everyone involved in the making of this set. Without doubt, one of the coolest releases of the year.” “One of those dream soundtrack releases… really, really thrilled with it.”
“Major props for this collection can be given to Jon Burlingame, television music journalism’s answer to Ethan Hunt, whose knowledge of the medium easily bests being able to hang from an airplane at takeoff. Given dozens of hours of already powerful Mission: Impossible scoring to pull from, Burlingame has done an exceptional job of cherry picking what are truly the best tracks.” — Daniel Schweiger, Film Music Magazine
“Album producer Jon Burlingame provides a thrilling mission with this deluxe edition, including his comprehensive liner notes…. The finished result certainly is a thing of beauty and all involved should be congratulated.” — Darren Allison, Cinema Retro
I love this movie, and I can confirm that I’m far from the only guy who also loves this score (just ask Brett Ratner how he decided to hire Lalo Schifrin for the Rush Hour movies). It is, of course, the greatest kung-fu movie ever made, with an amazing performance by Bruce Lee both as star and fight choreographer. Lalo Schifrin’s score was originally released in 1973 as a 26-minute LP but then expanded by producer Nick Redman into a 56-minute CD by Warner Home Video in 1998. I was privileged to write the notes for that expansion, interviewing the composer and delving into the creation of this iconic score. So for Aleph’s reissue of the latter — expanded slightly to include the film’s main title, with Lee’s unique shouts — I have adapted my earlier essay.
On Saturday, I took part in “The Golden Anniversary Affair,” a celebration of the 1960s spy-series classic The Man From U.N.C.L.E. in Culver City, Calif. I moderated the afternoon music panel, featuring Lalo Schifrin and Gerald Fried (Robert Drasnin was unable to attend), and both produced and hosted a special, one-time-only evening concert of music composed for the series.
I chose 14 tunes (Jerry Goldsmith and Schifrin music from the first season, Fried and Drasnin from the second and third seasons), found most of the original charts from the 1964-66 recording sessions, and worked with six great L.A. jazz musicians in two rehearsals to get the music just right. Their rendition of Goldsmith’s romantic theme, “Meet Mr. Solo,” gave me chills, and their performance of Lalo’s Latin tunes like “Roulette Rhumba” were lively and colorful. Fried’s noirish “Lament for a Trapped Spy” and Drasnin’s cool-jazz number “Basic Black” were other highlights for me. It was an unforgettable night (the audience of 100 dyed-in-the-wool U.N.C.L.E. fans really loved it). My old friend Bob Short prodded me to do this and I’m so glad we did.
When I learned that Universal was renaming one of its streets after Stanley Wilson, I jumped at the opportunity to write about it — and composers John Williams, Lalo Schifrin, Quincy Jones and Dave Grusin all immediately agreed to talk with me about him. That’s because he helped launch all of their careers at Revue/Universal TV in the late 1950s and 1960s.
Wilson is an unsung hero in the film/TV music business. Anyone who grew up in the 1960s will remember seeing “Music Supervision… Stanley Wilson” at the end of practically every show that came out of Universal City. And sharp-eyed jazz fans will recall seeing his name as conductor or producer on albums by Benny Carter and Quincy Jones. He was a great man who deserves to be remembered. In 2001 I wrote a 52-page biography of him for The Film Music Society’s Cue Sheet (available here) and it’s still among my proudest accomplishments.