The Sound of the Whip

I've been enjoying the hell out of the soundtrack to the movie Whiplash. I mention this only in part to recommend the soundtrack itself; mostly, I'm looking for an excuse to once again declare how brilliant the movie is, and to encourage everyone to see it. But the soundtrack stands well on its own, an assemblage of a rather wide variety of music.

Jazz obviously plays an important part in the movie, and the soundtrack includes all the major songs. There are classics like John Wasson's "Caravan" -- specifically the 9-minute version that figures so prominently in the last act of the film. There's also "Intoit," as originally recorded by Stan Getz. There are new jazz compositions from Tim Simonec, including "Upswingin'," a masterfully balanced jumble of different time signatures. And of course, there's the track from which the movie takes its name, Hank Levy's 7/4 rock-jazz fusion "Whiplash."

If you're just looking to relive the movie, there are a few brief tracks of dialogue featuring J.K. Simmons in the role that won him an Oscar. (Including, naturally, the monologue in which his character articulates the philosophy behind his draconian behavior.)

And then there's the film score itself, composed by Justin Hurwitz. The album's liner notes discuss the challenge of finding the right underscore for the film. Just "more jazz" would have simply been too much, and Hurwitz wisely provides only one such track, a rabbit-paced "Overture" to open the film. There was brief consideration of using an electronic score, but that was almost immediately dismissed as inappropriate.

But Hurwitz found the answer in blending those two approaches -- he created an electronic-style score using conventional jazz band instruments. Recording samples of trumpets, trombones, drums, upright bass, and piano, he built up an underscore note by note, an unsettling soundscape of drones and rhythms that ratchet up the film's already considerable tension. Stylistically, it feels very much like an organic version of the music composed by Trent Reznor and Atticus Ross for The Social Network and The Girl With the Dragon Tattoo. (And as the former film's music won that duo an Oscar, Hurwitz has placed himself in good company.)

With music to suit just about any mood, the Whiplash soundtrack has been in heavy rotation for me since I picked it up. A couple of dud tracks bring it down to an A-, but I still highly recommend it. (And, once again, the movie itself.)