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Project 3 PR 5046SD

It used to be you remembered the star of a film.

Now, you remember the movie theme.

Film scores have undergone a tremendous change in the past few years.  The films
produced in late 1969 and early '70 have shown a more sophisticated approach in
their use of music and artists to hype the action and mood of the contemporary scene.
Lyrics and music tell it like it is for younger audiences.

"Goodbye, Columbus" has The Association recording sequences on the sound track.

"Alice's Restaurant" features the poetic songs of Arlo Guthrie.

The voice of Nilsson cuts through the lonely landscapes of "Midnight Cowboy".

And the haunting "Love Theme" underscores the story of "Romeo & Juliet".

These songs and others in the album are indicative of the new wave in movie scores;
the importance of provocative music in pictures.  Today, an Oscar award for a film
score is as hotly debated as the best actor or acress among movie buffs.

Enoch Light has re-created the excitement and nostalgia of the songs you like to
remember. 

Listen!  They're playing our movie theme!


SIDE ONE:

1.  SONG FROM "THE WILD BUNCH"
All of the excitement and flavor of this spectacular movie has been captured and
re-created in Dick Hyman's highly imaginative arrangement.  The distinctive rhythmic
patterns and combinations of the ensemble sounds heard here are closely
associated with the music heritage of the Far West and Mexico.  Familiar guitar
strumming and castanets provide a perfect setting for the trumpets of Bernie Glow
and Mel Davis, and later for the flute and marimba combination of Phil Bodner and
Phil Kraus. The string section functions in a variety of roles, ranging from leading the
orchestra melodically to lending strength to the intense rhythmic vitality of the tune.
Wildly cascading figures bring a return to the opening two-trumpet sound, and the
theme is recalled briefly before the music heeds into a triumphant finale.

2.   EVERYBODY S TALKIN'
Country and Western style banjo pickings start things rolling in this popular tune
from "Midnight Cowboy." The train whistle effect provided by "Toots" Thielman's
harmonica furthers the mood already created and announces the entrance of
singer Malcolm Dodds. Note the superb phrasing and feeling which Malcolm imparts
to the lyrics. A wonderfully homogeneous vocal blend is created as girls' voices join
the sound and provide background harmonies to Malcolm's solo. The simple but
colorful orchestration here involves a relatively small combination of instruments,
each one of which was selected because of its distinctive tone color. In addition to
the improvisatory style of the banjo and harmonica, very effective use is made of
flute, accordion, vibes and flugelhorns. Malcolm's expertise and vocal artistry
provides a breathtaking (literally!) climax to this arrangement,

3. LOVE THEME FROM "ROMEO AND JULIET"
The elegance of the title theme itseif is perfectly matched by the symphonic
treatment it is given here. A brilliant orchestral opening is contrasted by an
unaccompanied piano solo (superbly played by arranger Hyman) which makes the
first presentation of the theme. A soaring string section soon takes over and is
complemented by a sonorous brass ensemble. The spotlight falls to the lower strings
(violas and celli) and flute before the sharply punctuated brass chorale. A brief
statement by the solo piano leads to a full recapitulation by a string-dominated
ensemble. The piece closes with the last sighing phrase of the mdody repeated in
sequence by violins, flute, piano and solo French horn.

4. ALICE'S RESTAURANT
The original folk style of the Arlo Guthrie epic is wonderfully captured by the
guitars of Tony Mottola (12-string acoustic) and Vinnie Bell (folk). The simplicity of
this style is continued by singei Malcolm Dodds and the girls' vocal ensemble, as
they sing the praises of Alice's Restaurant. By way of contrast, the second chorus
is a Dixieland tour-de-force featuring Mel Davis on trumpet, Phil Bodner on clarinet
and Bernie Glow on flugelhorn (quasi-valve trombone!)  The arrangement also
features an outstanding ad lib solo chorus (country-style) by banjoist Eric Weissburg,
with the rhythmic section playing stop-time behind him.  After a short "Dixie" interlude,
the arrangement returns to the initial folk setting, which is continued on through the
fade ending.

5. TRUE GRIT
A solo flugelhorn statement by Bernie Glow is echoed by Phil Bodner on flute, and
the mood is set for the sound of "Toots" Thielman's harmonica as it sings out the warm
phrases of the tune. Arranger Hyman chose a particularly simple orchestral setting
here, relying on the lyrical quality of the song and the soft colors of flugelhorns and
harmonica to convey the warmth of the song. Sumptuous coloring is also provided by
the combination of flute and accordion (played by Dominic Cortese).

6. MAH-NA, MAH-NA
All the stops are pulled out in this spirited, romping, almost tongue-in-cheek
arrangement.The "shaking" sounds which get things rolling are produced by
percussionist Phil Kraus playing the cabaza. He is soon joined by the low, groaning
sound (which recurs throughout the arrangement) of Phil Bodner's alto sax, modified
and made to sound two octaves lower by the use of a new electronic device known
as the "multivider." The girlsin the vocal ensemble add to the fun as they sing delightful
"nonsense" syllables to this disarmingly naive tune. "Toots" Thielman (harmonica) and
Dominic Cortese (accordion) keep up the spirit with humorous quotations from famous
melodies. The arrangement goes romping out with Dick Hymanproducing a fantastic
"wah-wah" effect on the clavinet in an improvised repartee withthe "multivided"
sound of Bodner's alto sax.

SIDE TWO:

1. THE DAY OF ANGER
The overpowering strength of Tony Mottola's 12-string electric guitar is matched by
the brute force of the sound pyramids in the orchestra. Tony doesn't pull any punches
here, as he performs extremely difficult "double picking" passages with the ease of
the master he is, and makes his sound more ominous by adding reverberation and
tremolo. Brass-dominated ensemble passages alternate with Tony in presenting the
theme, with some "other-worldly" combinations of sounds provided by the string
section.  An incredibly driving rhythmic underpinning is provided by Bob Rosengarden
on drums (notice his "fills" for the biting brass chords!) Tympani are called in at the
end to complete the combination of forces for the last chords of power.

2. RAINDROPS KEEP FALLING ON MY HEAD
The delightful "wah-wah" sounds of the clavinet (played by arranger Hyman) which
open the arrangement are particularly apropos to this light-hearted Bacharach tune.
Perfectly matched flugelhorns, played by Bernie Glow and Mel Davis, make the first
presentation of the beguiling melody and are followed by solo singer Malcolm Dodds
with the girls' vocal ensemble providing background support. Notice the excellence of
Malcolm's phrasing and the natural way in which he inflects the the melody.  The
rhythm section supplies a light, bouyant feeling throughout and is supported by the
colorful combination of flute and accordion.

3. JEAN
A beautifully expressive violin solo (played by George Ockner) and cadenza clearly
establish the proper mood and setting for this song. Dick Hyman has created an
arrangement which feature a sonorous orchestral texture and a flexible "romantic"
conception of rhythm, i.e., a flowing "rubato" as opposed to a strict, metrical approach.
Notice that within the context he establishes here, Hyman is able to continuously vary
the type of string writing and texture he uses. Of the featured orchestral colors,
mention must be made of the English horn (played by the versatile Phil Bodner), the
French horn (impeccably played by James Buffington), as well as the harp, piano, and
bells. The poetic finale is highlighted by warm, full-bodied chords from the brass
section.

4. SUMMER ME, WINTER ME
The range of orchestral colors displayed here is truly remarkable. Solo instruments
featured throughout this version of Michel Legrand's playful tune are the piccolo and
temple blocks which appear at the start, and the bass trombone (played by Paul
Faulise). A wide variety of textures is used, as the string section alternates between
pizzicato and bowed playing, while the brass section is split with trumpets and
trombones using cup mutes and French horns playing open. A high point occurs in the
country-style "hoe-down" section, where Tony Mottola lets fly with some genuine
"down-home" licks on guitar. The arrangement closes brilliantly as the plucked string
sound seems to evaporate, leaving the bass trombone with the last "word."

5. GOODBYE, COLUMBUS
The trumpets emerge from a cushion of vocal harmonies to announce the start of this
happy, infectious melody. Sharply punctuated rhythmic figures clear the air for the
beginning of the vocal chorus by Malcolm Dodds, with the girls supplying lyrical
echoes. Floating effortlessly over a bossa-nova-rock feeling in the rhythm section,
the arrangement has the effect of sweeping the listener along on its lively way. As
the tune begins to fade, a spirited vocal chorus reiterates the happy feeling.

6. THE APRIL FOOLS
The solo flugelhorn of Bernie Glow unfolds over a lush background of strings and
harp before the guitars establish the lilting rhythm of the tune. The expressiveness
of the melody is beautifully conveyed by the violins, with the full orchestral sound
being reserved for the second half of the song. New colors are added in the second
chorus, which features a sensuous alto flute solo and some sensitive flugelhorn
phrases. The strings lead the tune to a close, but it remains for the flugelhorn and alto
flute to supply the final echoes to this haunting Bacharach ballad.