 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Terrible feeling when a thread bump worries you.
I am working on several things as always. Some are rather large in scope and are taking a long time to get finished. As always it's the administration rather than the audio, and in general the process seems to be taking longer lately for everyone. Whether a project makes it out within a calendar year is always at the mercy of that, and it's an issue when you're already halfway through the year. There are also projects outside of the soundtrack world that I'm working on.
More immediately there is a release that will be announced very soon that has been in the cooker for a long time, and I hope it will be well received for both what it is as well as for where it might potentially lead.
And since it's correct that projects generally are not announced ahead of release, that's all I can really say. There is a lot going on and all is well.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
More immediately there is a release that will be announced very soon that has been in the cooker for a long time, and I hope it will be well received for both what it is as well as for where it might potentially lead.
The above sentence from Mike Matessino could refer to Moonraker.
|
|
|
|
|
|
|
|
|
|
More immediately there is a release that will be announced very soon that has been in the cooker for a long time, and I hope it will be well received for both what it is as well as for where it might potentially lead.
The above sentence from Mike Matessino could refer to Moonraker.
What my brain goes to is expanded editions of the two Peter Bernstein Ewoks scores. Those seem like they'd fit "I hope it will be well received" but the "where it might potentially lead" being particularly exciting. And could explain why it's called "a release" (i.e. could be more than a single score).
Yavar
|
|
|
|
|
|
|
|
|
|
Only two tracks on the original Under Fire album were “concert versions” arranged specifically for the album, and one of those (the opening track “Bajo Fuego”) is easily the best piece Goldsmith composed for Under Fire! Though I would *love* to get the shorter original film action cue that served as the basis for that extended concertante work, as well as all the other unreleased film cues, it’s strange to single out the album as different and inferior when all but two tracks were indeed the film cues.
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
If Mike Matessino is working on a premiere of Fluppy Dogs by Shirley Walker (or any Shirley Walker, really) I'll be very happy... 
Yavar
|
|
|
|
|
|
I hope I’m still half cool when it’s revealed that we are knocking on a different door in the hallway than the usual ones. Nothing to do with John Williams, although there is a quote from him in the booklet.
|
|
|
|
|
|
Ooh, that's a good tease Mike!
Yavar
|
|
|
|
|
|
I hope I’m still half cool when it’s revealed that we are knocking on a different door in the hallway than the usual ones. Nothing to do with John Williams, although there is a quote from him in the booklet.
Ooooo ... the mind reels ... Ewoks, by Peter Bernstein ... Gilligan's Island, the Gerald Fried scores ... the possibilities are endless. (JW hovers very near the periphery of both of those.)
|
|
|
|
|
|
I hope I’m still half cool when it’s revealed that we are knocking on a different door in the hallway than the usual ones. Nothing to do with John Williams, although there is a quote from him in the booklet.
Ooooo ... the mind reels ... Ewoks, by Peter Bernstein ... Gilligan's Island, the Gerald Fried scores ... the possibilities are endless. (JW hovers very near the periphery of both of those.)
Or it could be an older score (Golden Age/Early Silver Age) that was influential to Williams’s style. Just a thought.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
