he scores created by John Williams for the Star Wars trilogy are
among the most famous melodies in movie music history. Yet while there are
dozens of CDs that feature orchestral or electronic adaptations of these themes,
more innovative interpretations are somewhat harder to find. By
combining retro-jazz arrangements from "a long time ago" with tunes written
specifically for "a galaxy far, far away," Cocktails in the Cantina
offers an unusual take on 13 of the most recognizable motifs from the
original Star Wars pictures.
Opening with a leisurely finger-snappin' rendition of "Star Wars
Main Title," the nine-member Evil Genius Orchestra presents Williams' grand
outer space compositions in "space age bachelor pad" lounge-music style.
Majestic cues such as "The Throne Room" are recast as swingin' songs,
complete with rousing horns and lively percussion. Other cuts, like "Lando's
Palace," which showcases a standup bass line and a smoldering saxophone solo,
offer a somewhat edgier tone. Meanwhile, tribal timpani accents "Han Solo and
the Princess," giving the work a humorous George of the Jungle sound,
while "Parade of the Ewoks" incorporates a synthesized organ that emphasizes
the track's lighthearted ambiance.
The album is ostensibly hosted by adult film star Jasmin St. Claire.
Although she doesn't actually perform on the recording, pictures of St.
Claire, dressed in a revealing two-piece outfit similar to that worn by
Princess Leia in Return of the Jedi, are prominently featured on the
liner notes. These notes also contain a brief tribute to Williams that acknowledges his early
career as a jazz pianist.
Darth "Daddy-o" Vader
The concept of commingling jazz and SF is not altogether new. During the
1960s, TV series such as The Jetsons and The Avengers often
augmented their visual high-jinks with ultramodern melodies. To some extent,
the numbers on Cocktails in the Cantina mimic cues from these vintage
television adventures. But The Evil Genius Orchestra also adds a slightly
contemporary touch that, when combined with an obvious respect for Williams'
original compositions and a healthy sense of musical humor, results in an
imaginative and downright entertaining collection.
Though it's certainly among the most daunting motifs within The Empire
Strikes Back, snaky brass rhythms and a bossa nova beat transform "The
Imperial March (Darth Vader's Theme)" into a seductive song that nicely
captures the allure of the Dark Side. Meanwhile, the normally mysterious
"Yoda's Theme" is converted into a lively percussive playground--punctuated
with sprightly horn flourishes--that harmonically hints at the virtuous power
of The Force. The jazzy "Cantina Band" is also slowed down and spruced up,
with a relatively laid-back cadence and wordless vocal enhancements that make
the tune both spirited and sultry.
"Ben Kenobi's Death/Tie Fighter Attack" is one of the few cuts that
doesn't successfully translate to the easy-going lounge style, losing the
delicate balance between hope and sorrow that Williams marvelously
maintained in his orchestral version. However, most of the selections are
solidly performed and presented with an appropriate mix of reverence and
revelry. The music may not sound quite as regal as Williams originally
envisioned, but it's likely that, after hearing Cocktails in the
Cantina a time or two, even Luke would be relaxed enough to refer to his
fearsome father as Daddy-o.
