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Filmtracks Editorial Review:
Diamonds: (Joel Goldsmith) With a comedic romance film that includes the likes of Kirk Douglas and Lauren Becall, Joel Goldsmith provides both a snazzy and heartfelt score that might surprise you in parts. Consisting of an occasionally unsteady balance between big band and melodic orchestral sequences, this score changes moods quite frequently in the middle portions of its album. In its parts, though, it contains some very lovely cues, with intimate and contemplative symphonic undertones. The album is a pleasant (if not short) sample of what the son of famed composer Jerry Goldsmith is capable of writing.This is the first album release of Joel Goldsmith's compositions since 1997, when the majority of his published work was beginning to become available for the mass market. With a decently sized orchestra, Goldsmith provides a lush string theme over the titles; as the score progresses, the theme's performances are spread more to secondary instruments in solo or background roles. Nevertheless, Diamonds is a melodic piece at its core, with a substantive tenderness at almost all times. Disrupting the very enjoyable woodwind-dominated cues of the middle portion of the album are a few "Reno" sequences of loud big band swings... In and of themselves, these are quite fun, but they detract from the often subtle mastery in the adjoining orchestral tracks. The exception is the exotic "Lance's Girl" track with a cool electric guitar and a fair share of attitude. Luckily, by the end of the album, there is yet another considerable length of solid performances from the orchestral players. The only blemish is a pair of brass mishaps in the sixteenth track. By the last three tracks, the album for Diamonds is as lush in performance as any Rachel Portman score, with the quiet piano solos that often mark recent James Horner works. The statement of theme in the finale has all the emotion of a Marc Shaiman effort. The album ends with a song performed by Peter Noone, which has a funny Broadway/Randy Newman feel about it --a jolly addition to the score, the only problem with it is the rather sonically bizarre overlay of his voice to create a doubling of his accent. Otherwise, Goldsmith's score is a strong effort; on the album, I find the bid band casino tracks hard to take (especially surrounded by such mellow underscore elsewhere). Still, for those of you who have been listening to his father's music for decades, you might consider taking a moment to hear Joel Goldsmith's rising talents. ***
Insert notes offer only a list of the performers in the orchestra. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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