It’s been awhile since I’ve introduced a new concept here on the Fuzz, so allow me to introduce the first act of Cinema Musique. I couldn’t count the amount of times I’ve been disappointed with a film simply because the musical cues seemed to be manipulating me into feeling something that wasn’t genuine. It’s almost as if the music supervisor needed to squeeze the song into the scene to appease the director, but there was hardly any thought being put into the actual decision of the music selection. Granted, I’m sure that it is not an easy job to select music within a specific budget that pleases everyone from the director to the producers and from the writers of the script to the actors. But skimping on the type of music that is used in a film is like offering someone barbecue without the sauce.

So, while I was toiling away at my day job, I came up with this idea to create a series of posts that explore examples of music used in films that undoubtedly improved the quality of the finished product. Since I enjoy films almost as much as I love music, I should have no problem coming up with fresh entries to keep the readers interested. If any of you have suggestions for future posts in this series, I encourage you to speak up.

Today’s edition is focusing on Michael Small’s score from the 1971 Warner Brothers film Klute. While Klute wasn’t exactly my cup of tea the first time around, I have grown to appreciate it more because of the stellar music featured on the soundtrack. It showcases a wild mixture of fuzz guitar-tinged funk , spooky interludes, orchestral jazz pieces and metaphysical middle eastern dirges. I wouldn’t be surprised in the least if someone told me that David Axelrod and Dennis Coffey contributed music to this score in some shape or form.

It’s been a while since I’ve seen Klute, so I don’t remember exactly what scenes these songs have been taken from. I would venture a guess that “Casting Office” is probably the background music for one of the scenes in the movie where the lead detective is scouring the crime-ridden streets of New York for clues to a murder. With an intermingling of flutes, sitar, various percussion instruments and a haunting vocal performance, the sound of “Casting Office” can best be described as transcendental.

I can only guess that the funky floorburners like “First Disco” and “Laguran’s Disco” are featured during the segments in the film that are shot in a discotheque. While I’ve never had a soft spot in my heart for the sound of disco music, these “disco” songs have a lot of SOUL. Finally, on “Bree Followed on Street”, ominous piano chords, sparse percussion and various instruments that I can’t even discern are juxtaposed together to create a chilling effect.

I hope you have enjoyed my first foray into the world of Cinema Musique. Please give me a shout if you have any questions, comments or suggestions.