A review by JAMES SOUTHALL

Michael Small is described in the liner notes to this new album as being "probably the most under-appreciated composer in American film" which is probably correct.  It's amazing to think that the composer of Marathon Man, The Parallax View, Klute, The Stepford Wives and The Postman Only Rings Twice is represented on CD by only two or three scores (none of the above being amongst them), but there you go.  He died prematurely in 2003 from cancer, leaving behind a rich body of work which is ripe for further examination by record labels.  Intrada has long been a champion of under-appreciated composers (Mark McKenzie and Bruce Broughton spring immediately to mind - the representation those two extremely-talented composers do have on CD is almost entirely thanks to Intrada) and hopefully it will be able to explore Small's catalogue in the months and years ahead.

As is quite evident from scanning the list of films he worked on, Small specialised in scoring taut thrillers, particularly during the 1970s when he was up there with the two Jerrys, Goldsmith and Fielding, as being in demand for that kind of thing.  He continued to work into the genre through his career, and Black Widow comes from 1987.  It's unlikely that many people remember it, even those who have seen it (which probably isn't very many), but it did have a first-class director in Bob Rafelson and fine performances by Debra Winger and Theresa Russell.  You also can't fault the tagline for the movie on the back of this album - "Black Widow - she mates - she kills" - wonderful!

The score is as taut as might be expected, full of suspense and enough to make you chew your nails, or perhaps the cushions, whichever takes your fancy.  The score is dominated by strings which in Herrmann-like fashion, always feel like they are either stabbing or strangling you.  Small also utilises some electronics to add colour, but these have an unfortunate 1980s hue which dates the music, sadly.  This shouldn't detract from the underlying quality, however.  Warmth is hard to come by, though there is a little underlying a couple of cues, provided by flutes or horns - even then it tends to be accompanied by strings which tell you that all isn't well in the world.  Indeed, even the finale, which for the briefest moment threatens to swell up and close the score with a flourish, ends up with more chopping strings.  It's all impressive music, with Small taking great care in conjuring up a brilliant atmosphere - but it doesn't make for exactly cheerful listening, and for that reason I doubt that many people will end up giving it a spin all that often.  It's great to get some Small on CD though, and therefore comes recommended as being an example of a fine composer doing his job perfectly, even if it doesn't give the best hour-long album.  Production values are typically high, with Julie Kirgo's liner notes a fine plus.

Tracks

1. The Widow (3:27)
2. Ondine's Curse (5:07)
3. Investigation (2:32)
4. No Evidence (4:49)
5. Chasing After Phantoms (3:55)
6. Hawaii (5:09)
7. No Air (6:22)
8. Seduction (6:32)
9. She's Deadly (8:00)
10. The Truth (4:07)
11. Knowing When to Stop (6:34)