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FEATURE SPECIAL: An Echoes Summer Movie Special

If this summer's blockbusters seem a bit lacking, despair not. More and more often, we're finding great music being created for films, and this month we're visiting some of our favorite Echoes artists who compose soundtracks.

CINEMATIC FANTASIES There are hours upon hours of scores churned out for motion pictures. Most are forgettable. The ones that aren't are usually bled to death for years. On CINEMA, Windham Hill Records gathers their stable of artists to render personal takes on cinematic themes old and new, obscure and popular. Among the interpretations are performances by pianists George Winston and Liz Story, violinist Tracy Silverman and guitarist Alex De Grassi. We talk with CINEMA producer, Dawn Atkinson and some of the musicians about their cinematic exploits. listen>>>

CLIFF MARTINEZ Sound Sculpture Soundtracks (2004) Cliff Martinez is one of the more idiosyncratic of Hollywood film composers. The original drummer of the Red Hot Chili Peppers, he's since carved out a niche career with his atmospheric soundtracks, mostly for director Steven Soderbergh including Sex, Lies and Videotape and Solaris. In addition to the usual film composers tools of orchestra and synthesizers, Martinez has custom instruments including American gamelan and the other-worldly sound sculptures of the French Baschet brothers. He merges these into haunting scores that brim with atmosphere and mystery. In his Los Angeles home, Martinez plays his instruments and talks about the interior spacescapes of Solaris and his latest film, Wicker Park.

listen>>(approx 7 minutes)

BT The Soul of a Monster (2004) BT a.k.a. Brian Transeau, is a darling of the dance floor, and is responsible for a genre called techno-trance. But the electronic composer's music has always been deeper and more multi-faceted than that. You can hear his emotional range on the soundtrack to Monster, a harrowing film portrait of Aileen Wuornos, a street prostitute who was executed for killing seven men in Florida during the 1980s. Her life was horrible, but BT finds a soul in her world, revealed in minimalist cycles, ambient atmospheres and a touch of ambient Americana. BT talks about his score to Monster. listen>>(approx 7 minutes)

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JEFF BEAL & NAWANG KHECHOG Scoring Tibetan Tragedy (2004)

Tibet: Cry of the Snow Lion is the critically acclaimed documentary about the plight of Tibet, filmed over the course of ten years by director Tom Peosay. Scoring his horrific tale is film composer Jeff Beal and Tibetan exile and former monk, Nawang Khechog. Together they create a haunting score that borrows form the sounds of the Himalayas with Tibetan horns, flutes, chants and percussion, but arranged into an emotional underscore. Jeff Beal, Nawang Khechog and Tom Peosay talk about their Tibetan odyssey. listen>> (approx 7 minutes)

MICHAEL BROOK Swamp Soundtracks & Global Transformations In the 90s, Michael Brook hadn't released an official solo album for many years, but he was never busier and his sound never more influential. In 1997, we talked with Michael about his roots soundtrack to Albino Alligator, and productions and collaborations with Nusrat Fateh Ali Khan, Julia Fordham and Afro-Celt Sound System singer Iarla O Lionaird. listen>>> (about 7 min)

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MARK ISHAM Crashing in Ambience (2005) Mark Isham began his film composing career in a small, backroom apartment near San Francisco where he wrote the electronic score to NEVER CRY WOLF, almost all on one synthesizer. A quarter century later, Isham is a top tier Hollywood composer whose resume includes orchestral scores for A RIVER RUNS THROUGH IT, THE MAJESTIC and MIRACLE. But Isham metaphorically returns to the back room apartment for the haunting, dream-like ambient soundtrack to Paul Haggis's acclaimed film, CRASH. We talk to Isham about his powerful score. listen>>> (about 7 min.)

PAT METHENY'S MAP OF THE WORLD (1993)

Pat Metheny's music has a cinematic quality, born of the wide-open Missouri spaces where he grew up. In 2000, he composed the soundtrack to the movie A Map of the World which taps into that pastoral, mid-America sound. Pat Metheny and director Scott Elliot talked with us about their musical coordinates. listen>>> (about 7 min.)

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