Jesus (TV) (1999)
音楽：パトリック・ウィリアムズ
Music Composed by Patrick Williams
Music Composed by Patrick Williams
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Jesus[Soundtrack] [Import]Patrick Williams
レーベル：Capitol レビュー (Amazon) Jesus has been many things to many people: Son of God, carpenter, Rock of Ages, and social radical. But now inspiration for an "Epic Mini-Series" and adult-contemporary-oriented soundtrack album? Irony be damned: in the golden age of marketing, it only makes sense to wrap the gospel in slick, radio-friendly pop. Skeptics may balk at its blatant misappropriation of 1970s chestnuts like one-hit wonder Norman Greenbaum's "Spirit in the Sky" (its Zen overtones rewritten for dogmatic correctness by DC Talk) and Earth Wind & Fire's "Shining Star" (strangely recast here as minor-key hip-hop dirge by Yolanda Adams), but strong efforts by LeAnn Rimes and Steven Curtis Chapman will please the faithful. Compared with Patrick Williams's brooding score (available in its entirety as a separate release), the efforts of 98 Degrees and Hootie and the Blowfish almost seem to walk on water--which is a nice way to say they're lighter than air. The major sin the Jesus soundtrack seems guilty of is preaching to the converted; the music and message are full of reassurance and hope, but they're often as personally challenging as an Up with People road show. --Jerry McCulley |
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Jesus: The Epic Mini-Series (Television)[Soundtrack] [Import]Patrick Williams
レーベル：Angel Records レビュー (Amazon) How does a composer approach the greatest story ever told without feeling as if the legends of the various ages (from Bach and Handel to Rosza and Newman) aren't staring over his shoulder? If you're Patrick Williams, you acknowledge them succinctly and then get with the business at hand, underscoring a work as full of human drama and betrayal as it is with divine hope. Which is to say that while the proceedings are occasionally ponderous (those big, minor chords often being held a l-o-n-g time; this is, after all, a miniseries), Williams makes an effort to inject a little John Barry-esque modernism into the genre, and to good effect. With a memorably plaintive theme carried alternately by solo trumpet, flute, and orchestra, Williams hasn't exactly reinvented cinema's liturgical lexicon here, but he has certainly moved beyond its typically tired restraints. --Jerry McCulley |
