One of the most pleasant surprises of this anthology album of three Ryan Shore soundtracks is discovering Shore's dual skills as a composer and musician – namely a fine jazz saxophonist who shines among his equally strong players in the source cues from Kettle of Fish (2006).

Most of the films in this release are probably still below the radar in local video shops and TV, but the quality of the music may cause some curious listeners to seek out these flicks and see how well the music suits the movies.

Jumping ahead to Kettle of Fish, the second represented film, Shore's tracks are very evocative of mid- to late sixties Blue Note, with long chunks of improv after the opening phrase statement, and Shore's playing is very assured in low, breathy slow pieces like “Old Fashioned,” or jam pieces such as the bopping “Doin' Time,” where most players in the Ryan Shore Quartet get some decent time to shine, particularly the bassist.

Each of the jazz cuts explore a different emotion, so the suite provides some good variety between long cues (some over six minutes) and short cuts like “For Daphne,” bridging longer pieces without off-setting the suite's flow. Shore's playing style is quite evocative of Sonny Rollins in the hard solos, but Shore is also very adept in playing some delicate tones without sounding soft, gushy, and cloying.

Coney Island Baby (2003), which closes the album, is a fusion of several idioms – jazz, contemporary, blues, light funk – with an emphasis on warm acoustic and analogue sounds. With the exception of “Airport Scam,” which riffs Lalo Schifrin's Mission: Impossible ostinato, most of the cues are fairly laidback and quite short (a real pity for the tender “Waiting,” with its Americana violin solo), and seem to focus on key emotional moments for character or pivotal events, like “Billy Shot,” a semi-tragic elegy conveyed through acoustic guitar. Shore's writing slowly adds some light rock percussion, Hammond organ for the film's five-note theme, and a gradual slow-down, closing with acoustic and electric guitar, and warm bass tones.

Numb (2007) is a light blues score with strong use of keyboards and electric guitar, and is somewhat reminiscent of Eric Clapton's film work, where there's one or two primary instruments supported by synths, or gentle contemplative writing for small ensemble, as with Shore's gentle theme, “Sara.”

Unlike the jazz cues, Numb mostly consists of a few short themes often replayed in singular cues, so dramatic development isn't as pronounced. The cues have a wistful quality, which is a marked contrast to the more emotionally diverse moods of Kettle of Fish, and the overall feel-good vibes in Coney Island Baby.

MovieScore Media's mastering is clean and sharp, and the only qualm is the tight gaps between all three suites, which don't let the listener reflect for an extra beat the last notes of the ending suite. The jazz tracks are the main attraction, but those curious to hear a lighter side of Shore's writing will be very pleased at his strong, lean writing, offering a good contrast to his recent thriller scores for films like the devastating The Girl Next Door (2007), and chilling Headspace (2005).

© 2008 Mark R. Hasan