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Neil Argo
is an unique composer.
Versatile, he has produced valuable works on projects like
the television shows MacGyver
and Beverly Hills 90210,
besides his involvement with National Geographic TV -
showcasing his linear quality and born talent for music. In
P.J., a film directed by his now longtime partner Russ
Emanuel, Neil crafts a score that leads us to dramatic
tones, while seeking new paths between them. The plot, which
revolves around an accident that causes large consequences,
carries within itself a peculiarity, that is to say, nothing
usual here. This is extremely positive.
For the score Neil
employs short passages inside the tracks, with lots of
docility. In “P.J. Main Title” the sobriety found in the
piano follows the strings that play in the background,
turning the music into a canvas painted by tones. “Stuck By the Door”
brings to the listener strings that acts like catalysts for
the scenes, reaching anguish over the smoothness. “Both of Us”
is a short track where the sorrow is obtained through its
carefully prepared orchestration. “How Did He Know”
highlights a serenity feeling, thanks to a guitar that draws
the tranquility for itself.
“It's a Miracle” sounds, as
indicated in its title, like a little miracle, with sweet
strings conducting an open and continuous melody. “P.J. End Title”
is the most powerful track, where the film's main theme
appears in its most complete and catchy form, the piano
interacting with the saxophone to produce sober and
sophisticated jazz harmonies.
By the way, a feature to be
highlighted in the work of Neil is that he manages to write
his scores leaving no traces or remains. His scores are
always very well finished, superimposing its melodies like
layers, what creates a context that makes them more creative
and unique.
In short, we have here a great score, born
from the creativity of a composer who always reaches the
right point in the right time. |
