Sideways (Score)
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Music CD Cover
Composer: Rolfe KentEdition: Music CD
Audio: Armenian (Original Language); English (Original Language)
Format: Soundtrack
CD Release Date: 2004-10-12
Music Label: Watertower Music
Soundtracks:
- Asphalt Groovin'
- Constantine Snaps His Fingers
- Drive!
- Picnic
- Lonely Day
- Wine Safari
- Miles' Theme
- Los Olivos
- Chasing The Golfers
- Walk To The Hitching Post
- Abandoning The Wedding
- Slipping Away As Mum Sleeps
- Bowling Tango
- I'm Not Drinking Any #@%!$ Merlot!
- Miles And Maya
Free Music Notes for Sideways (Score)
Free Music Review: An Exceptionally Joyful, Mournful, and Beautiful Soundtrack
Hit: 5 Stars
What amazes me about Rolfe Kent's compositions for Sideways (Widescreen Edition) is how they express all these unique emotions while similtaneously maintaining not only the point of view of the protagonist but his sombre sense of identity. I feel like when Miles is unable to express himself in words, this music is what he hears in his mind. This is particularly true whenever he interacts with Maya, but, also, I wonder if this is how he imagines the world around him despite his melancholy state of mind.
There are very few film soundtracks that impress me and, certainly, even fewer I would consider purchasing, but Rolfe Kent's score is exceptional! It is vintage jazz that transitions seamlessly from moods of happiness to moods of sombre reflection. His work on Jason Reitman's first film Thank You for Smoking (Widescreen Edition) is very similar and quite good as well, but this score is absolutely inspired.
One very adroit reviewer here made an equally astute observation:
"In the film, in lieu of the track entitled 'Miles and Maya' they actually used 'Symbiosis' (specifically a piece of the 2nd Movement) Part A by Bill Evans and Claus Ogerman, with Evans on the piano. There is obviously no shame in losing out to the legendary Evans on this, the rest of Kent's score is superb. There's a lot of humor in the score, as befits the movie. It variously reminds one of Mancini and Umiliani. Hmmm, Evans, Mancini, Umiliani. Not shabby company."
Because the story ends not from Miles perspective but from Maya's, I think it was a wise decision to utilize music that had a completely distinct voice of its own. One is struct by the sense of resolution coming from Virginia Madsen's closing voice over because it is really the first time we completely escape the point of view of Miles and enter the mind of the one normal person in the whole story.
There are also several very short pieces used in the film to bridge transitional scenes with larger ones, but what comes on this soundtrack are the more developed pieces.
Sideways (Score) Poster
"Sideways" is the story of Miles (Paul Giamatti), a failed novelist, and his soon-to-be-married friend Jack (Thomas Haden Church), a washed-up actor. To salute the remains of their youth, they take a road trip before Jack's wedding. A serious wine enthusiast, Miles is determined to educate Jack on the region's beloved Pino Noir, but Jack is more interested in living his bachelorhood to the hilt. Trouble ensues with wine and women, and the duo come to some profound realizations as they come to terms with maturity. The jazz-based score by Kent, whose previous collaborations include "Citizen Ruth" and "About Schmidt", accentuates the movie's themes by matching unusual arrangements with unique melodies. The result is a score that captures the emotions felt as life occasionally turns on its side.Writer-director Alexander Payne's critically acclaimed, multi-Academy Award nominated mid-life-crisis/road trip comedy fuses the sensibilities of 50's/60's Italian farce with the edgier, character-driven ethos of 70's American films. The director admits the film's musical score was largely inspired by the former's Neapolitan jazz sensibilities (and the work of Piero Umiliani in particular), as skillfully evoked by composer Rolfe Kent, Payne's previous collaborator on About Schmidt and Election. Some instrumental choices and rhythmic quirks are clearly evocative winks at that Italian canon, yet Kent has produced a bright, focused modern score that is anything but slavish to its inspirations. Marrying the inherently expansive nature of jazz to the brutal time constraints of film scoring has never been easy, but using an all-star 10-piece ensemble (featuring notable contributions from pianist Ron Feuer, Roger Burn on vibes, flautist Pedro Eustache, the sax of Dan Higgins and percussionist Alex Acuna), Kent does it here with deceptive ease, producing a breezy suite of jazz cues that pulses with playful, upbeat cool. --Jerry McCulley
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