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The dramatic role of soundtracks in movies is undisputed. Try to imagine Jaws without the scary “here comes a big shark” theme, or a horror film without the spooky church-organ or theremin. Very few movies, such as Alfred Hitchcock's The Birds, have challenged this approach, proving that you can build tension without music.
In contemporary music it has become somewhat vogue to produce soundtracks for imaginary movies. Judging by recent efforts, it seems that the exponents of this style mentally inhabit the mean streets. One group which is musically more dry-martini than narcotic is London’s The Orchestra. Comprised of classically trained musicians and a DJ, this 22-piece outfit strikes out into new territories with its own unique blend of electronica, clattering beats, horn stabs and silken, soaring strings. Having spent the past the two years honing its live reputation, the Orchestra finally released its debut album, Look Away Now.
Musically, this is textbook spy movie. However, in this case it's a very 21st-century James Bond – one who owns a laptop and drum machine. Their cinematic style has much in common with the widescreen textures of Goldfrapp, but it differs from its predecessors. Because these are real musicians, the resulting feel is very organic and immediate. Rather than being repetitive, it sounds structured. A standout track is “Suffering,” which blends smooth strings, '60s cop show flutes, synth-washes, a nice sax solo, harp swells and a killer bass line. The closing track, “Tune Three,” is 007 at his most aquatic, swimming through the dark water pursued by sinister men with harpoons. On the downside, the whole album clocks in at a meagre 32 minutes, and you can’t help but want a little more. All in all, a perfect soundtrack for those cold winter nights in your secret base inside on top of the mountain. You can almost hear those choppers approachingï
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.