Interestingly, the orchestral parts of the score, from the choppy action rhythms to the gracious harmonic exit at the end, are a distinct tip of the hat to Jerry Goldsmith. In fact, many of the mannerisms heard in The Fugitive sound like a Goldsmith score for a B-rate 1990's action thriller, and perhaps there's less irony than one might think when remembering that Goldsmith himself was brought in to score the sequel five years later. The reality of this similarity, however, is that Howard was, like many ascending composers of that era, tremendously impressed by Goldsmith's action styles. With the action material firmly rooted in Goldsmith territory (resembling Capricorn One in the staggered, percussive moments), Howard emulates hints of the more stylish tactics of Dave Grusin and John Barry for similar films at the time in other sequences. The intended, jazzy undercurrents in The Fugitive never really work themselves into the score well enough to be effective, a problem compounded by the absence of many of the saxophone performances in the film version of the score. The sax, bass, and piano still address the elegant lifestyle lost by Kimball, thus explaining why it only exists in faint hints. On album, the specially recorded track "The Fugitive Theme" elaborates on this style, performing the title theme with a touch of jazz that cannot compete with like-minded alternatives from Goldsmith or Barry. That theme would only be utilized sparsely throughout the score, easily receiving its most complete and satisfying performance in the harmonically rewarding resolution cue and credits. It is a reminder of Howard's later Dante's Peak theme in terms of its somewhat generic personality. Outside of this "redemption theme," as it could be called, Howard's score uses rhythmic motifs as his secondary ideas to propel the score. A four-note rhythmic motif squirms through the sequences representing the original crime and trial, as well as later connected elements; it's an effective tool, but rather anonymous after some good establishment in "Main Title." In "Helicopter Chase," "Subway Fight," and "Stairway Chase," a jagged, rising motif for full ensemble evolves out of this idea and represents Kimball's panic, and while efficient in furthering the thrill of the moment, these cues aren't particularly enjoyable when separated from the visuals. The most commonly praised cue in The Fugitive is "Helicopter Chase," and it's interesting to compare this dense material to the more mature and arguably more fluid style that Howard would provide for the highlighting chase in Salt many years later; the differences in technique and influences are fascinating, and anyone attracted to the undeniable flow of some of Howard's later chase cues may have difficulty finding as much enjoyment in the more frequently lurching predecessor from 1993.

The remainder of the score is quite mundane in its conservative, only mildly engaging attitude. The varied drums and metallic percussive effects (possibly synthetic) work for the forest sequences in the film, but do nothing more than date this score back to the era of the television series. The related, downright hip rhythmic motif for Kimball's minor victories, embodied by a cool, light rock rhythm (complete with Unbreakable-like, bold drum pad thumps and finger-clicking sounds) in "Kimble Dyes His Hair" and "No Press," extend previews of the title theme (the latter cue has some fluttering of the sax at the outset that is worth noting). Alternatively, cues like "Main Titles," "Kimble Returns," and "Sykes' Apt." accompany scenes when Kimball is either mentally defeated or in "sneaking mode," thus handing control of the music over the realm of ambient sound design. Some of this material (as in "Computer Search"), when aided by tapped wood rhythms, is reminiscent of John Williams' similarly unnerving conspiracy atmosphere for JFK. For many listeners, however, the only true highlight of The Fugitive is "It's Over," with a slow and resolute form of the action rhythm leading to a solo woodwind and eventually full ensemble performance of the title theme's interlude in grand, bittersweet harmony. Interestingly, Howard had originally intended for more of that somber, troubled, but pretty tone to inform the score, but it was eventually struck from final edits. The original Elektra album of 1993 was basically adequate but suffered from sound issues relating both to a flat mastering for that presentation and, oddly, a switching of the left and right channels (a circumstance that might not be noticeable to the majority of listeners, but may have yielded some feelings in orchestral music collectors that something wasn't quite right with that they were hearing). A 2009 complete presentation of The Fugitive was a surprising choice for release by La-La Land Records, because the score certainly isn't among Howard's best. But that pricey 2-CD set ($30 retail upon debut) does offer everything heard in the film and many extras worth noting, including the graceful piano version of the title theme rejected from the end credits. A synth demo of "Helicopter Chase" is also an intriguing listen. More important, and the most notable aspect of the set, is its remarkably improved sound quality. A vibrant soundscape with tasteful reverb brings formerly dull portions of this score to life, making the product a solid recommendation for those already appreciative of this music. Still, however, The Fugitive represents Howard's thriller and action mode in its early development and it's difficult to sing the praises of a score that is ultimately efficiently mundane and little more. It remains a significantly underachieving effort floated more by a superior film than vice versa.   @Amazon.com: CD or Download