Despite the success of his first produced script, for which he received an Academy Award® nomination for best original screenplay, Charlie Kaufman (Cage) is plagued by insecurities, both in his career and his personal life. When he is hired to adapt The Orchid Thief, a non-fiction book about a fanatical orchid breeder, John Laroche (Cooper), he is completely stumped. Though, on the surface, the book is about Laroche’s flower poaching adventures in the Florida Everglades, on another level it’s also about the desire in all of us to experience passion. This longing plagues the book’s author, Susan Orlean (Streep) and, Charlie realizes, himself as well.
The mid-Michigan based trio Organissimo is not your garden variety, grandfather's organ combo. Yes, they pay allegiance to Jimmy Smith and the forefathers of the B-3, but these musicians, particularly guitarist Joe Gloss and organist Jim Alfredson, are younger and have the audience of their generation in mind. Easy comparisons to Medeski, Martin & Wood, Soulive, and the Brothers Groove can be made. The difference maker is veteran drummer Randy Marsh, who has played his share of bop, soul-jazz, rock, funk, and commercial music, not to mention being a fan of Frank Zappa.
Popular throughout the 1960s and '70s, Marie Laforêt is a French pop singer who garnered fame initially as a film actress during the early to mid-'60s. Born Maïténa Doumenach to parents of Armenian heritage on October 5, 1939, in Soulac-sur-Mer, Aquitaine, France, she made her film debut in 1960 in the René Clément drama Plein Soleil, a big-screen adaptation of the Patricia Highsmith novel The Talented Mr. Ripley. Plein Soleil not only launched the acting career of Laforêt; it also made a cinema star of actor Alain Delon. In the wake of her showbiz breakthrough, Laforêt was offered one role after another, notably beginning with Saint Tropez Blues (1961) and La Fille aux Yeux d'Or (1961)…
After the success of Gladiator, it wasn't unusual to see director Ridley Scott turn to Hans Zimmer again for the score to Black Hawk Down, his fierce adaptation of Mark Bowden's account of the tragic 1993 American military intervention in Somalia. What was more surprising was the schedule Scott imposed on the German-born composer: 15 days to write, arrange, and record the film's nearly two hours of music. The results of Zimmer's miraculous two-week musical campaign not only belie those constraints; they instantly take their place alongside The Thin Red Line as some of the most compelling music he's produced. The gambit here is simple–portray the combatants as two warring tribes, with their native musics locked in a tense dance for domination.
This is, without a doubt, one of the best albums in the Spanish progressive of all times. Gotic is a wonderful example of the adaptation of foreign musical tendencies (basically Anglo-Saxon and Italian progressive, Canterbury and fusion) to the personal and local music of Catalonia. The group, located in Barcelona, was born in 1977, and was formed by Rafael Escoté (bass, gong and palms), Jordi Martí (drums, percussion, palms), Jep Nuix (flute, piccolo, palms) and Jordi Vilaprinyo (piano, harpsichord, mini moog, violin, hammond, palms), with sporadic interventions from Jordi Codina and Josep Albert Cubero at guitars. They only released this masterpiece before their separation, but this is more than enough to place them in the top of the progressive style.