"We have a trio of releases coming on Monday. One is a premiere release of the last movie score by this world-class composer -- a 70s horror film known by two names, but the second and its poster are are pure 70s exploitation at its best. In beautiful stereo from 1/2" masters.
The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
The third is a reissue of AIP goodness that went out of print in about a day but deserves a little more time on the market given its profile."
"We have a trio of releases coming on Monday. One is a premiere release of the last movie score by this world-class composer -- a 70s horror film known by two names, but the second and its poster are are pure 70s exploitation at its best. In beautiful stereo from 1/2" masters.
The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one.
The third is a reissue of AIP goodness that went out of print in about a day but deserves a little more time on the market given its profile."
The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one .
Very intrigued by this one! In my heart of heart, I'm hoping it's a Robert Folk twofer - Maybe a rejected score I don't know about plus his gorgeous and stunning neo-classical achievement that is THE PLANETS documentary? The Intrada-produced 2 disc promo of his from the early 90's has an amazing 20 minute suite from that score and I just love it...
The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one .
The only thing about Schifrin is I'd hardly call The Exorcist obscure.
I don't know why but the description of the composer took me straight to James Horner. If the rejected score were Streets of Fire (very obscure and supposedly 48 Hrs style jazz) and the documentary....something else (Horner has done some projects under the radar)...it might work.
In fact, [the always reliable] IMDB says Horner scored a 1985 documentary called In Her Own Time.
The second features two obscure scores by a man who could easily go from jazz to big orchestral force and dissonance. One is a rejected score and the other is a documentary. Good luck with this one .
The only thing about Schifrin is I'd hardly call The Exorcist obscure.
I don't know why but the description of the composer took me straight to James Horner. If the rejected score were Streets of Fire (very obscure and supposedly 48 Hrs style jazz) and the documentary....something else (Horner has done some projects under the radar)...it might work.
In fact, [the always reliable] IMDB says Horner scored a 1985 documentary called In Her Own Time.
But then again I could be reaching hard for that one.
I think Schifrin is a far better guess than Horner on this one, based on Roger's description. I do agree that the Exorcist is probably too well known to be one of the titles. Has Schifrin got any other rejected scores that we know of?
Another composer to consider for the rejected score/documentary is Michel Legrand. He did a score for Boom (John Barry ended up doing it) and scored Orson Welles' F for Fake documentary.
Dave Grusin has had some scores rejected but I don't know of any documentaries he has scored.
