ba- bum - given additional intensity with the insertion of bass, guitar and electric keyboard licks.
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Once the plan is set in motion, Higgs and his confederates exit their decaying tenement headquarters Jones inserts an anticipatory cue that mimics footsteps before developing into a throbbing groove - ba- bum . Their cheerful lyrics gradually are overpowered by rising horns and strings, anticipating the dangerous heist that is about to unfold. The funk-laden title song is one such example: The film’s credits appear behind a grim montage of big-city slum life, while Jones’ catchy, percussive theme is augmented by whistles, vocal shadings and the voices of The Kids from PASLA. Given the inner city setting, and the importance that some of the characters place on church activities, Jones laced the score with numerous gospel numbers that he co-wrote with lyricists Dick Cooper and Ernie Shelby. Jones augmented the studio orchestra with jazz cats such as Bud Shank (reeds), Arthur Adams (guitar), Ray Brown and Carol Kaye (acoustic double bass), and Emil Richards (percussion). But the net tightens quickly, leading to a bleak conclusion lifted directly from Green’s novel.īy this point in their respective careers, Poitier and composer Quincy Jones had become a highly successful team The Lost Man was the fourth of their seven big-screen collaborations, following (among others) In the Heat of the Night, and prior to that film’s sequel, They Call Me Mister Tibbs. Higgs’ three confederates don’t last long on the run, but he briefly stays ahead of a massive police hunt, thanks to Cathy Ellis (Joanna Shimkus), a liberal social worker who has fallen in love with him. Needing funds to help the families of imprisoned group members, Higgs leads a payroll heist that goes horribly wrong he’s wounded while fleeing with the money, and - worse yet - kills somebody in the process.
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Poitier stars as Jason Higgs, a lieutenant in a well-organized - but never identified - group of Black militants operating from the slums of an average American big city. Director Robert Alan Arthur’s script is a disguised remake of British author Frederick Laurence Green’s 1945 novel, Odd Man Out - adapted to the big screen in 1947, starring James Mason - with the then-contemporary Black militants standing in for that book’s focus on Northern Ireland’s WWII-era unrest. The plot is a quaint relic of the late 1960s rise of Black militant groups, with star Sidney Poitier’s character displaying a level of calm nobility that seems out of place, given the era’s combustible national mood.
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#Order number for sax and dotty showpresenter movie#
Time hasn’t been kind to 1969’s The Lost Man, which at this point is almost a lost movie (and an equally lost soundtrack album). Reluctant as I was, to discard a Quincy Jones score, at the end of the day there simply wasn’t enough jazz to justify inclusion.
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On top of which, the minimal jazz elements are further obscured by the numerous gospel and R&B tunes that director Robert Alan Arthur seems to favor over Jones’ contributions. But “brooding” also is an apt description of the bulk of Quincy Jones’ score: far more orchestral gloom than actual jazz cues. The story certainly is ideal this is a brooding crime drama in the classic all-will-not-go-well mold.