I felt upset when news of Terry Plumeri’s death was announced. Very few composers create soundtracks that move the heart. Regarding classical music, Plumeri deserves mention in the same breath as Sergei Prokofiev and Dmitri Shostakovich. As a jazzman, his light shone with the best of them. In film music, we shall never see his like again.

Details of Plumeri’s shocking murder on March 31 (2016) didn’t reach me for several days. He was 71  years old.

At age ten, his passion for music sprouted. In adulthood, Dick Halligan the founder of Blood, Sweat and Tears offered Plumeri a job ghost-writing for television. From there, the latter acquired the experience that got him into film composing. His résumé includes Black Eagle, Scarecrows (see Score Season #3), Death Wish V: The Face of Death, Night Hunter, Diamondbacks and One False Move.

The music of Terry Plumeri could be classical, poetic, avant-garde, operatic and ultimately… cinematic. Through the genres of jazz and film scoring he created his own signature sound. Not only was each score memorable as a singular experience, there were thematic ideas that spread across a number of subjects, notably horror and action.

As it turns out, I’d already been exposed to Plumeri’s music at a young age. One of my favourite action heroes Jean-Claude Van Damme made Black Eagle, and I watched this movie frequently. No wonder the experience felt so impactful. I have Plumeri to thank for that.

Below I have included capsule reviews of key soundtracks, and a brief poem:

Death Wish V: The Face of Death (1993) *****

The vigilante exploits of Paul Kersey (Charles Bronson) end on a high note with arguably the finest movie and soundtrack of the bunch. Composer Terry Plumeri contributed immensely to this creative enterprise. Note the dystopia in “Freddie Catches the Ball” and how our anticipation builds when Kersey takes dangerous steps in “Stalking Sal.” Such brief, incidental touches release waves of nostalgia complement the film’s legacy.

Raging Angels (1995) *****

Record label Intrada was justified in releasing Terry Plumeri’s Raging Angels. This could be the greatest soundtrack ever to accompany an Alan Smithee film. Just to clarify, “Alan Smithee” was the Director’s Guild pseudonym for filmmakers that no longer wanted their real names attached to a project. With strong emphasis on choir and atmosphere, Raging Angels also boasts a masterful love theme.

Mr. Atlas (1997) *****

Terry Plumeri’s soundtrack for Mr. Atlas takes us on a splendid journey. Special moments include: the opening fanfare, a gorgeous love theme and the electrifying harmonica performance at 0:39 into “I’ll Bet It’s The Way He Smells.”

Black Sea Raid (2000) *****

Initially, the intensity behind Terry Plumeri’s Black Sea Raid felt off-putting. However, a closer inspection yields a true discovery. This effort contains some of Plumeri’s most infectious action material. On several occasions, I have whistled and hummed some of the central themes. For example, there’s endless enjoyment in the mysterious “Spy Talk.”

The production history for Black Sea Raid reveals a fascinating modus operandi. In the liner notes, Plumeri explains the absence of director Jeno Hodi. While the latter’s input could have been crucial, Plumeri takes action in order to create something stirring and memorable.

From Black Eagle to Mr. Atlas

A legacy packed with wonderful scores.

Beyond what we usually hear

The sounds producing a tear.

A soul so beautiful

Finding the light and making it true.

Taking risks, navigating the wire

Your music shall always inspire.

Whether our faith is tested or the mood appears blue

There’s comfort in listening to you.

So long maestro

Until we listen once more.

Terry Plumeri (1945-2016)