Disclaimer: I never finished this project. Due to a last minute change by the executive producer, the score went to Nina Simone’s friend and Musical Director Al Shackman. However, team I worked with was very enthusiastic about my score, so I am sharing it!

For this I was inspired by the abstraction in the subject’s art, and the period in which he became known, the sixties. They wanted a jazz score, influenced by Mel Tormés version of “Comin’ Home Baby” as well as Nina Simone, whom the artist knew and whose portrait he painted.The film also contained some Thelonious Monk drum breaks, tightly edited to picture. So I borrowed the go-go beat from “Comin Home…” and brought some 60’s jazz abstraction to it, à la Miles Davis, as well as film score elements that bring out the visuals.

For the rest of the film we went with a beat-poet jazz style bass and drum accompaniment, but not restricted to the period. We used some Afro-Brazilian elements as well as contemporary jazz.

Despite great enthusiasm for the score, the concept was shelved as the producers worked out an arrangement with Al Shackman, Nina Simone’s Guitarist and Musical Director of three decades).