专辑简介

Featuring Andy Middleton on soprano and tenor saxophone, Ethel string quartet, Elizabeth Rodgers on a Fantasia for piano, and the composer on everything else, Christopher North’s original score is almost the third lead cast member of the film as it’s evocative motifs connect the various themes of the film’s story into a cohesive tale. The multi-instrumental composer played guitar, bass, drums/percussion, piano, African percussion, harmonica, hammered dulcimer and ukelele on the genre-crossing soundtrack (including elements of classical, jazz, soul, folk, blues, rock and world music.) This is Mr. North’s first feature length film score. The Hot Dog song features Lou Rawls and Ernie Hudson.

in the composer's own words:

“Soulful, diverse, enigmatic and at times humorous, obscured and exclamatory - these words describe what I was aiming for. I knew early on that African folk music and soul music (a lá Marvin Gaye) with Motown grooves would be the sonic realm for Jake resulting in the choice of saxophone, African percussion (Kalimba, shakers, Marimba, etc.), simple drum set, acoustic guitar and electric bass - all instruments often heard on the street and in the subways of NYC. The reasons for using a lot of piano and classical music for Cameron are self-evident upon seeing the film. (I even included an out of tune piano at some critical moments.) Abe and the Colonel are quintessential "blues men." (Hence, the slide guitar and harmonica.) I felt justified in playing most of the instruments myself as I wanted a street musician's feel and a quasi-improvised, self-taught musician's mindset. In other words, the loose parts are really loose - I often limited myself to one take, “warts and all.” Yet, all the while, the tight parts needed to be tight - I knew the story needed an overture to open the curtain and it’s Capra-esque, feel good nature. I really enjoyed making the source music (Greek diner, downtown acid jazz, Mexican cafe Mariachi) and montage music (French accordion, classical piano as well as the raucous rock tune composed to picture for the prostitute scene.) A four note descending scale figure on piano that I initially dismissed was championed by Matthew and eventually became the main theme, hinted at throughout the film but not really heard in its entirety until the last scene. The parade theme is a morphing of Jake and Cameron's music, bent towards the piano and strings music of many buddy films. …Listening back to the all the tracks for the soundtrack preparations, I am struck by how “New York” it is. Various music’s – very diverse - sometimes sitting side by side, distinct and separate, other times mixing into something new, a melting pot of sounds with lines blurred. …I really enjoyed the process of discovery with Matt, playing sketches for him, never knowing which one might knock him out. …Special kudos to Andy for such soulful inspired playing. ”