jazz rock

Themes and Schemes

I'm at an interesting new phase of my music-scoring career. As you know, six months can do a lot to a musician's influences, desires and tastes. Looking at the fact that this new movie's entire background seems to be urban and the city, I realised the sound needed to sort of, reflect that.

Hence I've decided to incorporate more of a Brooklyn jazz sound to most of the songs wherever it's possible not to mention the main theme which screamed 'Brooklyn Jazz in the City!' like nothing else. You had the electric guitar. The rhodes. The sax. The fretless bass-swag. Acoustic Guitars. Brass. The epic string quartet screaming right at the beginning. Not to mention the constant tap on one particular note on a keyboard. Pure unadulterated epic-ness.


Then of course Munchies has that jazz vibe too. Oh, and did I mention Munchies also had some crazy turntable-scratching which added so much to the track it's friggin' brilliant? I think I'll also have to go through the other tracks once again just to make sure the Brooklyn jazz vibe is much more present in the rest of the tracks as well.

Time to get some more work done, Adios.

The Lighter Parts

There is always, a defining moment for every music score, an apex. A point of climax where everything that you've come to know through it is questioned and you know you're at the zenith of all that the movie stands for. To reach that point one has to take into consideration every shaping element in a movie and experience it objectively through your own eyes. This movie in particular has an entire domain that constitutes what I call 'The Sum of Lighter Parts'.

What is that, you ask? Of course like any other movie, there is drama, action and suspense. But what really defines it and really set it apart are the light moments, that in their unique way shine light towards human nature and what its really like to be human and alive between trials and tribulations. To see the happier side.

There are about two-three tracks that I plan to keep on the lighter side. And their placements are just crazy. While one is sandwiched right between the main theme and a really sombre piece of music, the other one was right before a romantic sequence.

I think the more fun I had was probably on the first one. I called it 'Downtown Shuffle (Munchies)'. Munchies, yes. As ridiculous as it sounds, it was probably just the guy running around a supermarket trying to figure his shit out. I made a hunch and figured he must have his headphones on, and made the music in such a way that it faded in from the crowd ambience like a low-pass filter with a subtle radio effect.

I think I've established already that the sound needs to be more jazz-centric in most places. Of course the action sequences ae exceptions to everything. I really had quite a ball composing Munchies. It was like a fun 2-minute jazz-rock track which sounded like a band just having a lil' bit of fun.


Then there was the other track, where I think I took the jazz-influence a little too far. It mostly had me playing some very complex chords on the piano. I tried making the piano go through a lot of processing but I guess it came out unique in the end. It was quite a unique electric-meets-boxy effect. 

I think this track came in at a perfect time where all the action and the drama has the viewer quite saturated, and things just go easy on you for a while. There's a synth-line going in the background and then the xylophone adds a nice playful touch before the jazz-piano chords kick in. It was a like nice evening in Hawaii.

I think the jazz influence is something I won't be able to shake off for a while.

Time for food.