Tai-Pan

Label: Varèse Sarabande     
Catalogue No: VCD 47274

Release Date: 1986

Total Duration: 36:59

UPN: 0-801439-900097

The first question that comes to mind: “Is TAI-PAN a repeat of SHOGUN?” The answer is no. The second question that follows: “Is TAI-PAN a good album?” Well, sort of Maurice Jarre sets the tone for his TAI-PAN album right away in this full sweeping orchestral score. The “Main Title“ is a grandiose, percussive one complete with standard Alex North oriental ornamentation and some familiar if awkward Jarre modulations. Probably the best thing about the main title is that it evokes pleasant memories of better oriental scores, like THE SAND PEBBLES. However, it is still an aesthetically appealing exercise in orientalism but without much thought or intellect.

The second track, “Macao“, is a delicately orchestrated, mezzo-piano track with listenable solos by string instruments, clarinet, oboe, and flute. There is also a flowing love theme that is nicely developed if a little over-dramatic on the percussion and rolling timpani (it makes Rozsa’s cadences sound subtle). Much of the rest of the album is of a brooding nature.

The most distinctive characteristic of this score is the contrast between impressionistic reflective sections and louder, more percussive sections. There are no surprises in TAI-PAN, just pleasant listening without originality. The fact that Jarre took this assignment, is an indication of his desire to be eclectic and he has separated himself away from SHOGUN enough to make TAI-PAN worth a listen, albeit with his stylistic trademarks both good and bad.

Actually, one of the more pleasant trends in film music of recent years is the graduation of Jarre from a composer and scorer of ineptitude and vulgarity into one of considerable inventiveness and sensitivity. TAI-PAN is not a direct reflection of this, but is still a listenable album and a lot more than this banal film deserved.

Kevin Mulhall – Originally published in Soundtrack Magazine Vol.6 / No.21 / 1987