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Jones Starts 2001 Off Right 
Review by Christopher Coleman

Thirteen Days
8/10

Over the last few years, I have been afforded one big-surprise-score per year.  A couple of years ago it was Music from the Apollo/ Saturn V Experience by David Kneupper.  In 1999, I discovered that John Williams had passed his mantle of great bombastic prowess to one Michael Giacchino, as evidenced by his work for Medal of Honor.  And in the last year of the 20th Century, I was enthralled by the Aussie composer's, Christopher Gordon, work for the made for television remake of On the Beach.  I had no idea that I would be so fortunate, so early in 2001...

In the midst of the traditional hustle and bustle of the holiday season, in middle of all the hype over The Grinch, Unbreakable, Vertical Limit, and Crouching Tiger - Hidden Dragon, an epic score was released with no fanfare, no heavy marketing, no barrage of promotional discs or media kits.

Trevor Jones' score for the political drama, Thirteen Days, which portrays the frightful days of the Cuban Missile Crisis, might be the single, most satisfying soundtrack released during the lucrative holiday season of 2000, yet this gem of a score only found its way into my collection in the first week of January 2001.  It is likely that there are many who still have heard very little about this soundtrack, but slowly, surely, the accolades of Trevor Jones' latest effort should begin echoing throughout the film music community.

Jones' composition for Thirteen Days provides a truly satisfying listening experience for those who love big, bold, patriotic, militaristic, film scores.  In recent memory, there are few such scores that are any better than Thirteen Days.  There aren't too many emotions that this score does not touch, at least for a moment or two.  It is, as mentioned, bold and powerful, but it also stoops down into the realms of the foreboding, while, somehow, touching that reflective and solemn part of humanity.

The soundtrack opens with Lessons of History (1) which is a truly engaging piece of music.  While the first few moments start off humbly, the militaristic nature of this film is clearly stated through snare drums and low frequency rumbles.  Only a few seconds in; however, the score erupts in classic Jones style, as the film's main theme is quite fully performed by the London Symphony Orchestra- and what a theme it is!  

While providing exceptional themes for The Mighty and Merlin, this could be Jones' best theme since the mega-popular Last of the Mohicans.  It is inspirational, but equally tender, solemn and thought-provoking.  Music that can make one "think" as well as feel, is of the rarest sort and is the single quality that told me, right off, that this was going to be an above-average listening experience. Lessons of History concludes with a restating of that beautiful main theme and, as a whole, provides a good sampling of what this score is all about.

One striking characteristic of this soundtrack release from New Line Records are the track times.  This is an amazingly well balanced release.  The shortest track is 3:15 long while the longest is the opening track at 7:49.  The complete absence of 2 minute and shorter tracks AND at the same time, lacking any grossly long 9 minute cues of  unending, uninteresting music is an oddity these days.  

Consistency is also found from cue to cue.  Far too often, scores today have a thrilling theme or two, while the rest of the tracks are listened to once and never again.  Of course,  this is dictated by the needs of the film, yet somehow Thirteen Days manages to maintain a high level of intrigue throughout each track.  Jones' main theme has been carefully placed at the beginning, middle and end of the soundtrack, making it memorable without overuse.

Track 2, Knot of War, immediately draws the listener deep into its dramatic intensity without becoming overly bombastic.  While it begins somewhat inauspiciously, Knot of War  starts to take on a life of its own without  restating the main theme.  The trumpet is ever present, but the menacing, synthesized, low note being played and, in this case, the strings, keep the overall mood darker than the first track.  This mood is accentuated in track 3, Missile Threat.  It is even more threatening as the music becomes more calculating and ominous, more dissonant.

Track 4, Prayer for Peace,  serves as an interlude and return to main theme but with an added sadness in its tone.  Both strings and woodwinds solemnly play the theme very passionately but at a slower, more reflective tempo than is found in track 1.  One final respite is found at onset of track 9, Us and the Devil, before the soundtrack goes into its final wave of strong, action/suspense sequences.  The soundtrack concludes with two very emotional tracks, The Sun Came Up Today (11), and The Will of Good Men (12), both of which employ the main theme, but the final track carries a memorial-like tone to it.  It is heroic and filled with the sort of poignancy many come expect from a John Williams or James Horner crafted melody.

There is a great deal to like about the score to Thirteen Days and what makes it particularly noteworthy is that is such an unexpected surprise, so early in the year.   For those who enjoy soundtracks such as Apollo 13, Medal of Honor, or On the Beach, Thirteen Days has a great deal to offer you.  While this score has  been overlooked by many throughout the close of 2000, with the release of the film in January 2001, Thirteen Days will likely prove to be a favorite of many throughout the rest of the year.  If this score is any indication as to what is to come for 2001, it looks like it is going to be one fantastic year for film music lovers.

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