Graeme Revell, pretty much typecast in the horror genre, has hardly set the world alight with most of his output.  But, as happens from time to time, completely out of left field comes this terrific jazz score, a sort of cross between Mark Isham and the Buena Vista Social Club.  A thriller from director Carl Franklin (who has often made good choices when picking composers, from Cliff Eidelman to Elmer Bernstein) it stars Denzel Washington and its Florida Keys setting clearly inspired Revell, which is most fortunate because many composers (and directors) would probably have chosen to score what is, ostensibly at least, just another crime thriller with yet more synth meanderings.

The centrepiece of the score is a terrific, jazzy main theme, heard in three different concert variations, one somewhat expansive jazz arrangement, one dominated by trumpet and one by guitar.  It's a great piece.  The opening title piece is also very strong.  Mixing in with the jazz are some pieces of (slightly) more traditional underscore and, even when Revell does resort to somewhat atmospheric synth scoring, it rarely lasts for more than a few seconds, and certainly never for a full track.  In general, the virtually ever-present percussion drives things along, keeps things moving and ensures that there is never a dull moment.  This is chilled-out, soothing music that's perfect to relax to.  It's recorded and mixed in such a way that you can easily imagine sitting on a terrace in Cuba, sipping margaritas while the band plays inside the bar.  

I seem to constantly complain that film music is becoming ever more predictable and that there are just no surprises left.  Which leaves me genuinely delighted that Revell has produced a score like this; it's easily the best he's ever written, makes for one of the strongest albums of the year and is an absolute joy from start to finish.