If you watched network television in the 1970s, or have since come to explore cop and detective series of the period, you will have come across Quinn Martin Productions.  QM was basically the go-to company for action-adventure television and essentially dominated network television throughout the 1970s.  Perhaps its most memorable series were The FBI (1965-1974), Cannon (1971-1976), The Streets of San Francisco (1972-1977), and Barnaby Jones (1973-1978).  Producer Martin also hired some of the finest names in the business to provide music for these programs often taking a personal interest in the end results.  He kept a massive collection of the series music which has now been archived with the Film Music Society.  This is the source material for La-La Land’s latest release featuring an interesting collection of music from across eight different series.

Disc One has plenty of things to recommend the set on its own.  The first is the pilot episode for Barnaby Jones, “Requiem for a Son” which features one of Jerry Goldsmith’s finest television themes and his score for the pilot episode.  The music certainly helps cement the thematic thread across these tracks which include a bumper, three main title versions, end credits, and a few experiments of ideas for “Barnaby”.  A second episode, score by Bruce Broughton, is also a nice addition.  The first disc is filled out with music for the short-lived Dan August (1970-71) which finds Dave Grusin fully utilizing his jazzier side.

Music from Cannon is perhaps the greatest highlight from disc two.  John Parker’s memorable theme anchors the pilot movie and an episode from season one, “The Salinas Jackpot”.  The disc opens though with music from another short-lived series, Most Wanted (1976-77).  Lalo Shifrin’s main title for the series is unique in its use of synthesizer and the rhythmic pulses here will also date the music a bit.  The score explores some of the classic 1970s cop music styles of his more familiar film work.  Filling out the disc are some themes for shows that never really connected with audiences.  It is a rare chance to hear music by jazz arranger Duane Tatro (The Manhunter), a Nelson Riddle theme for Caribe, as well as an early Patrick Williams theme for Bert D’angelo/Superstar.  David Shire’s main title and end credits for Tales of the Unexpected bring things to a close.

What really stands out across the two discs are the ways these different composers bring their own style and create a unique soundscape for a host of genre scores.  That the music is actually further engaging even if most sequences tend to be brief is actually even more reason to consider making this trip down memory lane.  The sound is excellent and the booklet does a good job of summarizing the overall programs and some of the music here without the track-by-track analysis which is unnecessary here.  It is worth noting that the second volume of music from Quinn Martin series is now also available from La-La Land.

Many film music fans will recognize John Morgan from his extensive reconstruction work on a variety of classic film scores recorded with William Stromberg and the Moscow Symphony.  This new collection of music features selections from several of his scores for short films and audioplays.  As one might suspect, Morgan’s affinity for classic film music spills over into his own musical language.
The album opens with music from the 2004 critically acclaimed short film, The Visage.  This is a little creepy score with gothic romantic music that comes to the forefront in its dark main title.  As the score progresses, it is most reminiscent of a classic Herrmann score with its dark orchestral textures that swirl around Morgan’s theme.  Anna Bonn Stromberg contributed a brief noir-ish “Saxophone Source Piece” and William Stromberg provided some additional music as well.  With the Moscow Symphony at their disposal, the sound of the score is quite marvelous bringing out the rich, dark colors of Morgan’s score.  Towards the end of the score a series of linked cues (“Pesky Corpse-Unrest-Harmonic”) give the listener a chance to hear some of the different orchestral techniques that Morgan uses to blend theme with even creepier musical styles to add tension.  It makes for a fine introduction to this release.

At the center of the release are selections from an anthology film and a radio play.  First is a suite from The Headless Horseman of Halloween (1996) which is sort of variant on the classic Irving story.  The music here incorporates the Dies irae chant as well as some additionally Hermann-esque stylings and delicate flute and oboe writing.  Here too the orchestral writing is stunning.  The Trials of Mrs. Surratt (c. 1982) is from an audio play about the first woman tried through a military tribunal and executed for her part in Lincoln’s assassination.  Some fourteen minutes or so of score appear here.  Scored for brass and winds, it has a rather wistful Americana feel at times, with a beautiful opening trumpet theme.  As it plays out, is feels like a long-lost Twilight Zone episode score.  It is framed by a larger suite from the anthology film series for the episode “The Eggs”.  The music here has been arranged into a longer concert work for chamber orchestra.  It has a rather quirky feel part Herrmann, part Elfman, with nice wit in its orchestral hits and overall thematic development.  The wind writing here is really a highlight.  It is reminiscent of The Trouble With Harry.

Closing off the album is music from the The Medal (1992).  Directed by Andrew DeCristofaro (an Oscar-nominated sound editor), the story follows a man who reflects back on a military medal he received as a youth and it becomes a symbol for him to carry on after his wife’s death.  The film has a nostalgic and sentimental quality that comes across in Morgan’s beautiful score using a reduced chamber-size orchestra.  “Graveyard” features a heart-melting thematic idea to open this often moving score with a truly inspiring “Finale”.

Morgan’s own style is an extension of the vintage film music he lovingly reconstructs.  Gorgeous orchestral writing, a nod to Herrmann here and there, and engaging themes all make this release a delightful discovery.  The release is available through the BuySoundtrax.com website.