Customer Reviews

Siesta (1987 Film)

5 star:		(11)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

This has long been among my favourite soundtracks, although I've never really tried to analyze why it is. In order to truly appreciate this soundtrack, it is not necessary (and perhaps inadvisable) to first see the strange 1987 Mary Lambert film "Siesta." Watching the odd, discordant film will neither cement nor displace any emotional and intellectual associations created by the work of Marcus Miller and Miles Davis for this bold, deep, fascinating score. The opening track is the first of the five-part "Lost in Madrid" theme, and is haunting and sad, punctuated by Miles Davis' unforgettable trumpet work. The next collection of tracks ("Siesta," "Kitt's Kiss," and the second part of "Lost in Madrid") add to the otherworldly atmosphere of the work. Amidst the touches of Spain (especially in the percussive "Siesta") are intimations of a more abstract plane of existence, in keeping with the theme of the film. The third collection of tracks (or "Track 3" on the liner notes) begins with the languid, sultry "Theme for Augustine," very evocative of some of Vangelis' film-score pieces. Next, in quick succession, are the very brief "Wind," the metallic, stirring "Seduction," and finally the gentle "Kiss." The fourth track is "Submission," the tranquility of the piece broken by electronic chimes sounds and Davis' urgent trumpet peals. Next is the third part of "Lost in Madrid," this time sounding more eerie and chilling. The sixth track begins with the steamy, syncopated "Conchita," a contrast to the coolness of the previous track. "Conchita" drifts and meanders, adding odd elements like gongs, splashing water effects, and moaning voices. It also sounds more authentically Spanish than many of the tracks. Squeezed into the final minute of the sixth track is the elegent, elegaic "Lament." The seventh track begins with "Lost in Madrid Part IV," launches into the vaguely oriental "Rat Dance" (which recalls some of the work of electronic wizard Garry Hughes), then closes with the quiet "The Call." This is followed by "Claire," in which Earl Klugh supplies beautiful guitar accompaniment to Miles Davis' trumpet. The classical guitar and trumpet seem to be engaged in a dialogue. This soft, gentle piece is followed by the fifth and final part of "Lost in Madrid," a sort of deconstructed version of the earlier theme. Here, Davis' trumpet notes seem to hover over the piece like the shimmer of heat on a lonely highway on a hot summer day. Davis' mastery of his instrument is unquestionable, as this work bears testament. The ninth track is "Afterglow," which has a sense of the provocative and the dangerous. The work closes with the touching, haunting "Los Feliz." Davis' trumpet finds yet another worthy accompaniment in James Walker's lilting flute work. Miller and Davis have saved the best for last, and it ends the soundtrack off on a beautiful, restrained, and sensitive note. If only the movie were as elegant and tasteful, as powerful and profound, as the soundtrack!

This is an incredible 33 minutes plus of some of the moodiest soundtrack music I have ever heard! Descriptions from haunting to melancholy would be understatements. Seeing the actual film beforehand will enhance first time listener's experience as to why the album is such a menagerie of dreamy, ethereal, yet menacing atmospheric feats. This soundtrack will transport the listener to Spain (or even Mexico) in the middle of a steamy summer vacation ! Though I have not listened to Davis' Sketches of Spain from the late 60's, I cannot compare or contrast Siesta to that previous body of work. I can only say that this is Davis never heard like this before !...One footnote: The music may seem playful at times while maintaining it's somber mood; Yet, it is not a soundtrack to be mistaken for "uplifting" pop music.There are no vocals (except for a faint background chorus on a few of the songs).The familiar classical guitar, castanets and Flamenco sound are intertwined with Miles' instrumentation on a few of the tracks...

Marcus Miller and Miles Davis have created a masterpiece! "Conchita" is the best track. Mysterious and beautiful. Really spellbinding and seductive. Its hard to describe. But its worth the money trust me! A real piece of work

I' ve played this bizarre, moody score regularly since I bought it on the heels of seeing the bizarre, moody film by Mary Lambert that same summer in LA in 1987.

Granted, some of the marcus Miller synth scoring is heavy, but Miles' trumpet has never been more forlorn and crying out for touch. "Theme for Augustine" may be one of my favorite Miles riffs for all time, even beyond "Kind of Blue" and "Sanctuary." It's a very cohesive score - well produced - and a gem for soundtrack/ambient lovers who like a little darkness in their romance.

A sadly overlooked album, "Music from Siesta" is a soundtrack composed largely by Marcus Miller featuring Miles Davis. Styled as a modern-day Sketches of Spain with Miller in the role of Gil Evans, providing a platform for which Davis can solo, the album remarkably succeeds at its billing.

Miller provides a backdrop of Spanish rhythms and sounds not unlike Evans did, although, Miller handles most of the instruments (primarily synthesizers, bass guitar and bass clarinet) other than the trumpet himself, with occasional guest spots. Out of Davis, he coaxes the sort of aching beauty and tormented balladry that made Sketches of Spain so great, with Davis digging deep providing delicate solos on the backdrop established by Miller. That Davis was inspired is clear from his handling of the motif on opener "Lost in Madrid, Part 1", that this performance is something special becomes plainly obvious in the interplay between Davis and Miller (on bass clarinet) on "Theme for Augustine" a couple tracks later.

By and large, the album continues in this fashion, Davis is emotive and powerful over a stirring backdrop (and perhaps the most emotive synthesizers you'll ever hear, as in "Lament"). Along the way, we also see fantastic spotlights for guitarist John Scofield (guesting on Spanish-tinged acoustic on "Siesta") and Miller, who steals the show with his gut wrenching bass clarinet performance on "Kiss" and his endless elegance on fretless bass guitar on "Conchita".

The bottom line is, this is an album that is criminally overlooked-- where Evans chose an orchestra as his instrument to counter Davis, Miller chose a swirl of synthesizers and acoustic instruments. The results are the same though, intensely powerful performances from Davis. Highly recommended.

the compositions are by marcus miller, dedicated to the late gil evans. there's no getting away from this being spanish music. miller looks over his shoulder at sketches of spain, but not so that siesta is a tribute or variation of sketches of spain. where evans used an orchestra, miller uses synthesizers, influenced by weather report and aura.

miles davis's tone is reminiscent of the gil evans period. the album that most comes to mind is porgy and bess.

as music outside the film the music as cd stands on its own. there will be times i'll say this is one of my favorite miles recordings.

I consider this ablum as one of the best music I've ever heard in my life! The music is moody, quite, expressive and misterious... I haven't seen a film and I won't, because I have so many fantastic images in my head while listening to it, and I don't want them to change for a film screens ;-) Get one no matter you are a jazz fan or not!

It's hot and the air is still. Sitting under the shade of an iron roof in a dusty cantina, you're clothes contour your body like a damp second skin. The only other occupants of the bar are the flies that buzz around your beer, the only saving grace in this god forsaken land. And so starts this soulful journey to discovery. Miles Davis has done his magic again,lending his brilliance to what is simply a captivating soundtrack. For those fortunate enough to have seen the movie, you'll be able to relive all those lost in Madrid moments, that made the movie so special. Be carried away, take a siesta.

This music is extremely well performed and it is really well written by Marcus Miller (Miles helped with the composition of one of the tracks) who is a very talented musician that unfortunately has dedicated his time mostly to produce other's people music. It is a very atmospheric soundtrack (can't wait to find one day the movie), with Miles's trumpet sounding very evocative and intimate. All the pieces (10 tracks)have a haunting quality, and they are all related (once you started the cd, the music involves you in such a mood that you play it all way through)but each has its charm and tone. I would particularly remark the amazing use of the silence and the spaces that wraps the music into multiple layers of mystery. The traditional music from Spain, flamenco, it is also there, in a jazzy way. It is worth every single second. A very unique recording.

I found the LP in my brother's collection of records, and it is such a wonderful surprise. I loves Miles Davis, and was taken away by the haunting beauty that is this music. I have played it nonstop for the past four days, and it was not until today that I looked up the history behind the record. I had no idea it was a soundtrack, and now I cannot wait to see the movie.