Legendary composer Lalo Schifrin recently made a rare concert appearance in London. Mr. Schifrin afforded Cinema Retro extraordinary access to the event. Here is music critic Darren Allison's review along with Cinema Retro photographer Mark Mawston's coverage of a master musician at work. (All photos copyright Mark Mawston. All rights reserved)
It was a long time coming, but at last, U.K
fans were treated to a very rare feast of acoustic delight in the guise of
Argentinean born composer Lalo Schifrin. London
welcomed Schifrin as part of the ‘La
Linea’ Latin music festival held at the prestigious
surroundings of the capital’s Barbican Centre. An overwhelming sense of
excitement and anticipation filled the auditorium as members of the wonderful London
Symphony Orchestra took to the stage, followed soon after by the ensemble of
Schifrin’s remarkable jazz quartet. Australian Trumpeter James Morrison,
Peruvian born percussionist Alex Acuna (looking incredibly sprightly at the age
of 64) and French born Bassist Pierre Boussaguet appeared with a combined intent
of setting the night on fire. At 76 years old, Schifrin appeared to our left
and was greeted by warm and sincere applause. Naturally, a little slower and
cautious these days in his movements, it was nevertheless, the perfect excuse
for us to extend our appreciation of arguably the coolest of film and Latin
Jazz composers.
Opening with an original composition
‘Chano’, a mellow piece written in honour of Cuban born Latin jazz founder Chano
Pozo, Schifrin’s nimble work at the piano served as a simple and effective
introduction as to what the evening had in store for us. In fact, Schifrin’s
continuous movement from both piano and podium throughout the entire night’s
proceedings, only served as a reminder of how his enthusiasm and love for the music-making
process has never waned, regardless of his role as either conductor or
performer. Although each and every piece selected for the show was obviously
arranged by Schifrin and unmistakably flavoured with ‘A dash of Tequila!’ as
the man gleefully informed us, it was also unselfishly shared with other
composers work of which Schifrin undoubtedly still holds in high regard. Cole
Porter’s ‘Begin the Beguine’ for instance, showed very little sign of its
original arrangement, and was instead thrown into the pot with half a dozen
spices in order to emerge as a fresh and exciting new arrangement.
Our first taste of Schifrin’s long and
impressive list of credentials aligned specifically to his film work began with
the coveted ‘Dirty Harry Suite’. Comprising of themes such as ‘Magnum Force’
and ‘Scorpio’s theme’ the gritty, urban feel of Schifrin’s original
arrangements are now enhanced somewhat with a more jazz-orientated and to some
degree, ‘lighter’ feel. However, fused with the wonderful string section of the
LSO, the suite remains both an impressive and essential inclusion that was passionately
rewarded with rapturous applause and cheers.