Piano in the Dark
Review by Christopher Coleman

The Caveman's Valentine
6/10

First came Wolfgang Amadeus Mozart and then David Helfgott.  Now, welcome to the big screen, the next genius-musician gone just a smidge batty, Romulus Ledbetter.

The film, The Caveman's Valentine is based on George Dawes Green's award winning 1994 novel of the same title. The story centers around a classically trained pianist, Romulus Ledbetter (Samuel L. Jackson), who suffers from extreme paranoia and removes himself from society to a cave-like home on the outskirts of Manhattan. Romulus is forced out of his seclusion and world of paranoia as he attempts to solve a murder whose victim turns up in Ledbetter's proximity.

Most recognized within the circles of jazz, trumpeter Terence Blanchard delves into the realm of film music again with his dark and complex work for The Caveman's Valentine. For the film, Blanchard teams up with director Kasi Lemmons and actor Samuel L. Jackson, which marks their first reunion since their successful, 1997 venture,  Eve's Bayou.

The soundtrack, as released by Decca keenly reflects the major factors of both the story and composer alike. Most prevalently communicated throughout score is the state of mind, as well as talents, of the story's central figure, Romulus. Blanchard's score is as dark and unpredictable as Ledbetter's mind. Despite a plot that doesn't generally evoke the moods of jazz, occasionally Blanchard's jazz-background finds a way to shine through.

The soundtrack begins with a few moments of the familiar sounds of an orchestra tuning before it descends into the madness of Romulus Ledbetter (1). As the soundtrack makes its way down the brilliant, yet chaotic mind of Ledbetter, the score twists and turns from and with piano crashes, sharp piano runs, and dissonant strings and orchestral accents - Moth Ballet (2). Woven into the gloomy fabric is a thread of musical beauty that later finds a fuller expression in Musical Rampage (16). The overall effect is still one most unsettling. This eerie musical atmosphere is found throughout the majority of tracks  here. Filtered in are disturbing percussions and deep, dark synthesizers which become additional layers to this anxious music. On a few occasions, Blanchard breaks the dark tirade with a lead piano sometimes accompanied by simple strings, woodwinds or airy synths - He Was Beautiful to Me (6), Bob and Betty (9), or Rom and Lu Lu Drive (20). 

Only a few common threads in this score are short motifs and riffs. One that makes one of the most frequent appearances is four-note riff primarily played by either guitar or piano. In such elements does Terence Blanchard's jazz-background assert itself. While "consistency" or even "coherency" might not be the first words to come to mind when listening to this score, with successive listens, these small threads help to subtly add those two very ingredients into the mix.

Terence Blanchard won't be accused of copying anyone else with this effort.  While it is uniquely evocative at times, the overall feeling of the score, as the film dictates, is foreboding - a feeling most aren't looking to conjure up through their musical experience.  Those who happened to be thrilled by music of a darker nature may find this a worthwhile soundtrack to invest in.   

From the Liner Notes:

"Working with Kasi has once again forced me to push the envelope beyond its limits.  Kasi's confidence and ability to put together such a powerful film, gave me the freedom to reach out into new areas of musical expression.  The performance's, editing and direction were strong enough to leave no doubt as to what the film needed musically.  It is always a joy to work with her."  Terence Blanchard

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