{"id":6253,"date":"2013-03-08T02:46:06","date_gmt":"2013-03-08T07:46:06","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6253"},"modified":"2013-03-08T02:46:06","modified_gmt":"2013-03-08T07:46:06","slug":"cd-coogans-bluff-1968","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6253","title":{"rendered":"CD: Coogan’s Bluff (1968)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>C<\/a><\/p>\n

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\"\"<\/a>Rating: Very Good<\/p>\n

Label:\u00a0Intrada Special Collection<\/a> \/ Released: November 27, 2012<\/p>\n

Tracks & Album Length: 32 tracks \/ (56:48)<\/p>\n

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Special Notes: 20-page colour bookley with liner notes by Douglass Fake \/ Limited Edition.<\/p>\n

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Composer: Lalo Schifrin<\/p>\n

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Review:<\/p>\n

Coogan\u2019s Bluff<\/strong> is kind of a portent of the urban jazz style Lalo Schifrin would heavily invest in Dirty Harry<\/strong> (1971), slickly marrying the sounds of a small jazz combo with a modest orchestra, but maintaining an intimacy where the musicians and their performing styles shine for small periods within each cue.<\/p>\n

Melody and rhythms are delivered by hard piano hits, guitar, and drums, with strings providing a little big city gloss to illustrate the transposition of a cop from wild Arizona being dropped into the affairs of urban NYC. Schifrin\u2019s decision to hold back on the power of the orchestra also lets his addictive main theme \u2013 a rambunctious synthesis of a classic western hero – propel the score, often through radical variations.<\/p>\n

With his lead players versed improv, the results include a great soft drum solo extrapolated from the theme\u2019s melodic line, or stripped-down permutations where Schifrin plays with instrumental colours with just slight use of keyboards. There\u2019s also a lovely keyboard variation that drifts from a Renaissance configuration to more contemporary classical as the theme glides from harpsichord emulation to straight keyboards.<\/p>\n

Like Bullitt<\/strong> (1968), Schifrin wrote a significant amount of source cues, and Intrada\u2019s beautifully mastered CD features a few pieces that span classic sixties jazz: \u201cGetting Better is dominated by a piano; two jazz-pop fusions (\u201cPigeon-Toed Orange Peel\u201d and \u201cEverybody\u201d) feature ditsy vocals; and \u201cCoogan\u2019s Raga\u201d is filled with some of the traditional Indian instruments Schifrin repurposes in a few dramatic, and would later incorporate in his urban jazz sound.<\/p>\n

The CD closes with more straightforward dramatic cues that are rhythm-based (\u201cRingerman\u2019s Chase\u201d features bongos, piano, and a fixed ostinato), and Intrada\u2019s boosted the CD\u2019s length with some alternate \u201cMain Title\u201d outtakes, and vintage radio spots featuring reductive score material crafted by Schifrin.previously \u2018released\u2019 on a bootleg LP in bullshit stereo in 1978, augmented with material from Jerome Moross\u2019 The Big Country<\/strong> (1958), John Williams\u2019 The Cowboys<\/strong> (1972) theme, and a suite of material from Jerry Goldsmith\u2019s The General with the Cock-eyed ID<\/strong> (1964).<\/p>\n

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\u00a9 2013 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0C<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ C . Rating: Very Good Label:\u00a0Intrada Special Collection \/ Released: November 27, 2012 Tracks & Album Length: 32 tracks \/ (56:48) . Special Notes: 20-page colour bookley with liner notes by Douglass Fake \/ Limited Edition. . Composer: Lalo Schifrin . . Review: Coogan\u2019s Bluff is kind of a portent […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[1913,51],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1CR","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6253"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6253"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6253\/revisions"}],"predecessor-version":[{"id":6257,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6253\/revisions\/6257"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6253"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6253"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6253"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}