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From the liner notes...
Opting for a jazzy approach that emulated his work for VARRICK and TELEFON, Schifrin was able to imbue OSTERMAN with a sensual, dangerous ambience. The dark, machiavellian goings-on were given an eerie resonance by Lalo's thoughtful dissonance. A master of cool, urban sounds, Lalo's work in this field is matchless. Movies like DIRTY HARRY and BULLITT (1968) would be unthinkable without their specific perfectly-judged musical commentaries, and no-one else has ever been quite able to reproduce Lalo's polyglot style of big-city funk that was for many years ahead of its time, and is as contemporaneous now, witness MONEY TALKS and RUSH HOUR, as it was thirty years ago.
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