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Phillip Scott
Fanfare, May 2018

Conti is absolutely in her element here… My favorite is Pampas: a sparsely textured, sultry piece, composed in 2009 for cellist Antonio Lysy with a jazz ensemble accompaniment.

This may not be significant or indispensible music but it is mighty enjoyable and hence recommendable. Schifrin knows how to write a memorable theme, and Conti, with her strong and clear projection, knows how to sell it. © 2018 Fanfare Read complete review

Elliot Fisch
American Record Guide, May 2018

Some of the music is extremely difficult to play but is played with panache and dexterity. I enjoyed most of the music; all of the pieces are engaging and interesting. For Schifrin’s fans this is a must. For the rest of us, it’s entertaining. The sound is excellent. © 2018 American Record Guide Read complete review on American Record Guide

Records International, December 2017

The internationally renowned composer of scores for such big-name films as Bullitt, Dirty Harry and Rush Hour, has collaborated with fellow Argentinian pianist Conti for this collection of his complete works for solo piano to date, including several world premières. A unique arrangement of the famous theme to Mission: Impossible (the TV series) is included, as well as his most recent compositions: the two richly sensuous tangos, and the powerful Jazz Sonata, composed especially for Conti. © 2017 Records International

Steven A. Kennedy
Cinemusical, November 2017

Conti’s performances capture well the rhythmic complexities of these works and communicate their vitality. The melodies are beautifully shaped and this is enhanced by the rich, extended jazz harmonies. The download had a quite crisp and dry acoustic. © 2017 Cinemusical Read complete review

Steven A. Kennedy
Film Score Monthly, November 2017

Conti’s performances connect well with the rhythmic vitality of Schifrin’s music, ably delivering the gorgeous melodic content and rich, extended jazz harmonies. The recording features a crisp, dry acoustic that allows for good clarity. Those listeners who love Schifrin’s film work but are less familiar with his other endeavors will likely find a lot to enjoy here as well. © 2017 Film Score Monthly Read complete review

David Denton
David's Review Corner, November 2017

Though universally recognised as a prolific composer of film scores, Lalo Schifrin is a multifaceted musician who has toured extensively as a conductor and pianist. Born in Argentina in 1932, his musical studies in his homeland eventually took him to the Paris Conservatoire where his mentors included Olivier Messiaen. That was followed by a period working as a jazz pianist and arranger, before returning to Buenos Aires. Events then led him to take up residency in the United States in 1958, and so began a remarkable career that has included over a hundred film and television scores; more than sixty classical works, including six concertos, orchestral works and numerous chamber music scores and solo pieces. It was the meeting with the soloist on this new release, the Argentine/American pianist, Mirian Conti, that sparked a new interest in works for the keyboard, including almost all of the pieces on this disc. Starting out with a piano adaptation of the music that brought him international recognition—the main theme music for the film Mission Impossible—from therein the disc’s main influences come from South American rhythms and jazz. That includes a lengthy three-movement Jazz Piano Sonata, a technically demanding piece lasting around twenty-four minutes and flirts with the classics in the finale. He returns to his classical upbringing in the short Theme and 10 Variations, where his pleasing variations are in the style of great composers of yesteryear. Finally for his grandson, Jack, a lullaby. As they were written for Conti we have to take these as performances as being just as Schifrin would have wanted. Recommended to lovers of piano jazz. © 2017 David’s Review Corner

Lynn René Bayley
The Art Music Lounge, October 2017

…Conti has a good feel for the rhythm of this music. She’s not stiff or ungainly in playing it, as so many very fine classical pianists would be. And I do get the feeling that in some passages she relaxed the performance just a bit to allow the music more breathing room. The frequent progression of dense, two-handed chords, particularly in the first movement, sometimes impedes swinging—this is not easy music to play by any means!—but for the most part Conti has a good feel for the music. © 2017 The Art Music Lounge Read complete review

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