The film Alma’s Rainbow (released in 1994) is one of the first feature films written, produced and directed by an African American woman – Ayoka Chenzira. Chenzira was impressed by Jean-Paul Bourelly’s eclectic and highly imaginative music sensibilities and approached him to create the soundtrack for the film. The story is set in Brooklyn, New York and centers in mother-daughter relationship during a time when the daughter, Rainbow, is struggling with her physical self image as she begins her pubescent journey. Rainbow’s mother, Alma, is the pragmatic owner of a popular beauty parlour that is located in her four-story brownstone. She is clear about keeping the budding Rainbow on the straight and narrow which means clear of boys. Enter, Ruby, Alma’s sister, a flamboyant lounge singer with more ambition than talent who’s been living in Europe for the last ten years. Ruby brings the beauty, carefreeness and fun that Rainbow desperately seeks. Through Rainbow's inexperienced eyes, Ruby has reached the plateau of success of which Rainbow dreams. The film focuses on the conflicts that ensue between the sisters and Rainbow's decisions about her future. This was the plot from which composer Jean-Paul Bourelly started to develop various music themes. Although the story is set in Brooklyn, much of the film is shot within the beautiful interior of a Harlem brownstone home.. A sun filled living room and bright noon days inspire the music not with an underscoring brightness but with simplicity and stylistic range that is bound by an overall cadence of morality. This direction was chosen by Chenzira and Bourelly to stabilize and underscore the drama. Enlisting an extraordinary line up of musicians of unique players, the sound tracks moves through a ranges of styles and colors befitting the diversity of the Brooklyn neighborhood. Bourelly's work started from developing 3 themes for all 3 main characters, then branches out by warm melodic musical excursions. The empathetic Alma’s Theme is introduced by a simple descending chord progression on acoustic guitar. The chords encases the melody well. The second chorus opens with the introduction of John Stubblefields lyrical soprano sax, neatly underscored by Carl Bourelly’s keyboard orchestral backing. The pieces is a tribute to the singular purpose a strong melody has on a composition and the economy in which it can be effectively used. The melody cycles around several more times each time building with small embellishments and finally a turn around chord progression that leaves the Mr. Stubblfield in charge with a bitter sweet second cross melody. The final layer of a soulful finale. The collection of musical passages and pieces underscore a journey of self discovery and intertwines atmospheres of somberness, tension and serenity that befit the ever changing search of the young attractive protagonist, played by Victoria Gabriella Platt (featured in ‘Round Midnight), whose character is held within the embrace of a loving family and community as she struggles with the unfolding of herself. The session was recorded in New York city at Eastside Sound in the summer of 1992. List of musicians: 1. Arnaé - Vocals on “Always” 2. John Stubblefield, Tenor and Soprano Sax 3. Fred Hopkins, Acoustic Bass 4. Carl Bourelly, Keyboards and Arrangement 5. Etaal Shure, Piano 6. Rodney Holmes, Drums 7. Jean-Paul Bourelly, Guitar 8. Kehinde O’huru, Djembe and Percussion 9. Sean “Le Breeze” Richards, Tracks and Programming The final song Always, has the following credits 10. Written by John-Martin Green John-Martin Green and Arnaé, Vocals Jean-Paul Bourelly, Guitar and Drum Programming Jean-Paul Bourelly, producer and arranger We hope that you enjoy the soundtrack for Alma’s Rainbow, with the original score composed, arranged and produced by Jean-Paul Bourelly.