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SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY
http://buysoundtrax.stores.yahoo.net/sointifimuof.html
SRP: $15.95
LISTEN TO A SOUND CLIP FROM the score for SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY
http://buysound.webjedi.net/Somewhere_in_Time_Barry/03%20The%20Ipcress%20File%20-%20Theme.mp3
NOW SHIPPING
BuySoundtrax Records is pleased to announce the release of SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY, a compilation of newly produced recordings celebrating the work of one of the modern giants of film music, a composer of diversity and distinction whose elegant melodies were able to capture the heart of an audience as profoundly as his electrifying action music captured their attention throughout a career that spanned almost half a century.
SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY takes some of Barry’s most stimulating melodies, a couple of his earlier tracks, and a few lesser known pieces, arranged and interpreted for solo piano, live orchestra, and high-quality digital orchestra mixed with live strings, winds, and brass, in each case exploring the gentler touch of John Barry’s magnificent film music. SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY includes music from OUT OF AFRICA, THE IPCRESS FILE, DANCES WITH WOLVES, MIDNIGHT COWBOY, INSIDE MOVES, HIGH ROAD TO CHINA, JAGGED EDGE, THE SPECIALIST, BODY HEAT, RAISE THE TITANIC, HOWARD THE DUCK, THE DEEP, KING KONG and SOMEWHERE IN TIME in newly produced recordings arranged and performed by Dennis McCarthy, Dan Redfeld, Mark Northam and Dominik Hauser with the Meridian Studio Ensemble.
Dennis McCarthy’s roots in the music business began as arranger/orchestrator for Glen Campbell and composer Alex North. He was also musical director for THE BARBARA MANDRELL SHOW. In addition to his work on television series such as V and STAR TREK, he has written music for MANCUSO, FBI, LIFE STORIES, MACGYVER, PARKER LEWIS CAN’T LOSE, TINY TOONS, STARGATE SG-1 and PROJECT: GREENLIGHT. He has also written music for television movies such as GONE TO TEXAS, SWORN TO SILENCE, LEONA HELMSLEY: THE QUEEN OF MEAN, DADDY, Danielle Steele’s KALEIDOSCOPE, OVERKILL and BREAST MEN for HBO. He has scored feature films such as McHALE’S NAVY, THE UTILIZER, DIE, MOMMY, DIE and CRIMSON HIGHWAY. In addition, Dennis has composed music for THE STAR TREK EXPERIENCE in Las Vegas as well as music for the STAR TREK: BORG video game.
Dan Redfeld is a classically trained concert pianist and composer/conductor who studied at Boston’s New England Conservatory. While many of his fellow students were embracing modernistic, atonal music, Redfeld was more interested in tonal, neo-romantic music, an inclination grounded by his studies with acclaimed composer and pianist William Thomas McKinley. At the same time, Redfeld had discovered a love for film music through the work of John Williams in JAWS and STAR WARS. Through McKinley, Redfeld met and watched Williams at work with the Boston Pops, and the famous film composer’s influence settled into his artistic design. Redfeld began scoring short films for the American Film Institute, and in a day when many film composers were coming out of popular music into Hollywood film scoring careers, he found his academic background particularly advantageous to the music he was writing.
A graduate of the UCLA Extension Film Scoring program, Mark Northam is the founder of The Film Music Network, one of the industry's largest trade associations, and is publisher of Film Music Magazine, a leading industry trade publication for the film, television, and multimedia music industry. He has written and taught extensively about the film and television music business while working for a time as a film composer. He continues to write about film music and still regards his piano work as the fundamental part of his musicianship and musical interests.
Originally from Switzerland, Dominik Hauser received his education at the Jazz School St. Gallen in Switzerland, earning a masters degree in music. In 1996 Hauser relocated to Los Angeles, to attend UCLA where he delved deeply into film scoring. Subsequently he took his skills to the realm of indie cinema and began composing for film. Hauser’s work involves him in a variety of projects, including cinema, theater and video games. Recently Hauser completed arranging and orchestration on the restoration of the first Best Picture Academy Award® winner WINGS for the 2012 Paramount Picture centennial celebration. His work for the record label BSX includes THE BOUNTY, SCROOGE and THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE. Hauser recently published his fourth book, SOLOING FOR BASS.
SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY celebrates the legacy of the composer best known for his work on the James Bond franchise and a career that includes more than a hundred other films, producing some of the finest film and television scores of the medium’s history. He was a master of interactive, thematic action scoring, of turning a tune as comfortably in jazz, pop, or rock, who could electrify a chase scene, heat up a sultry summer night, and create dramatic tension by the simple turn of a musical phrase or a change of key. Above it all, however, Barry was an intuitive melodist whose gentle, lyrical, unforgettable romantic themes could speak right to the heart of the listener, be it man or woman. John Barry received multiple Oscar and Golden Globe nominations during his career winning the Academy Award four times and one Golden Globe.
SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY includes liner notes written by author Randall Larson providing insight into the history of the music and the composer. SOMEWHERE IN TIME: THE FILM MUSIC OF JOHN BARRY is a limited edition release and is now available from www.buysoundtrax.com.
1. SOMEWHERE iN TiME: Main Theme (2:32)
Dennis McCarthy. piano
2. OUT OF AFRiCA: Main Theme (2:53)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble
3. THE iPCRESS FiLE: Main Theme (3:56)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble
4. DANCES WiTH WOLVES:
The John Dunbar Theme (2:19)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble
5. MiDNiGHT COWBOY: Main Theme (4:21)
Mark Northam, piano
6. iNSiDE MOVES: Love Theme (3:09)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble
7. iNSiDE MOVES: Main Theme (2:30)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble featuring Tommy Morgan
8. HiGH ROAD TO CHiNA: Main Theme (9:27)
Performed by the John Barry Studio Orchestra
9. JAGGED EDGE: Part Viii (2:41)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble
10. THE SPECiALiST: Did You Call Me? (5:18)
Arranged and Performed by
Dominik Hauser
with the Meridian Studio Ensemble
11. BODY HEAT: Main Theme (3:19)
Arranged and Performed by Dominik Hauser
with the Meridian Studio Ensemble
12. RAiSE THE TiTANiC: Main Theme (2:47)
The White Star Chamber Orchestra Conducted by Dan Redfeld
13. HOWARD THE DUCK:
Lullaby of Duckland (2:29)
Arranged and Performed by
Dominik Hauser
with the Meridian Studio Ensemble
14. HOWARD THE DUCK:
You’re the Duckiest (2:22)
Arranged and Performed by
Dominik Hauser
with the Meridian Studio Ensemble
15. THE DEEP: Main Theme (3:51)
Dan Redfeld, Piano
16. KiNG KONG: Main Theme (4:45)
The BSX Orchestra Conducted by
Dan Redfeld
Total Time: 59:10
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most impressive sound clips !
We've added a couple of more samples from INSIDE MOVES and HOWARD THE DUCK.
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I think John Barry is especially well-served by this approach. I loved the two releases from Silva in the nineties called "the Classic John Barry," still my favorite go-to albums for a Barry fix. This new compilation has an equally effective and varied set of pieces, and some great arrangements/performances judging from the clips.
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Is the Main Theme from Raise the Titanic the celebratory "Prelude" music, or the elegiac and suspenseful Main Title theme?
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Is the Main Theme from Raise the Titanic the celebratory "Prelude" music, or the elegiac and suspenseful Main Title theme?
As I recall it's the later.
Ford A. Thaxton
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Posted: |
Jun 29, 2015 - 4:26 PM
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By: |
MusicMad
(Member)
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Received this today and given it a first play ... very enjoyable, incredibly good, clear sound. As with all the John Barry covers, none sounds quite right when compared with the OST recording ... but then Mr. Barry's own Moviola I/II recordings were a little different.
I appreciate the inclusion of a few rarer items, though the arrangement/interpretation of the Main Theme from Inside Moves (1980) did, perhaps, make me aware of this recording's derivation. As excellent as it is, it just didn't sound quite right ...
But then, a solo piano arrangement of Midnight Cowboy works exceedingly well ... despite being a million miles from the original.
I have numerous CDs of covers of John Barry material and none quite match the originals but each and all have something to offer. Based on this first play, this is easily one of the more enjoyable ones ... it makes for a very enjoyable hour's listening.
Highly recommended.
Mitch
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BSX could have simply repeated their existing suite from RAISE THE TITANIC (6:18). That's what Silva would have done. Silva's wonderful City of Prague Philharmonic tracks see new life on various compilations.
Was the new RTT piece recorded for, but not used in, TITANIC: AN EPIC MUSICAL VOYAGE?
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BSX could have simply repeated their existing suite from RAISE THE TITANIC (6:18). That's what Silva would have done. Silva's wonderful City of Prague Philharmonic tracks see new life on various compilations.
Was the new RTT piece recorded for, but not used in, TITANIC: AN EPIC MUSICAL VOYAGE?
Yes and No
This was part of that suite, but we knew that we'd want to use the theme on a future compilation, so after we got the track down, we recording a alternate ending for this purpose and that is what you end on this release.
Waste not, want not.
Ford A. Thaxton
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Received this today and given it a first play ... very enjoyable, incredibly good, clear sound. As with all the John Barry covers, none sounds quite right when compared with the OST recording ... but then Mr. Barry's own Moviola I/II recordings were a little different.
I appreciate the inclusion of a few rarer items, though the arrangement/interpretation of the Main Theme from Inside Moves (1980) did, perhaps, make me aware of this recording's derivation. As excellent as it is, it just didn't sound quite right ...
But then, a solo piano arrangement of Midnight Cowboy works exceedingly well ... despite being a million miles from the original.
The basic idea was to present the MUSIC on it's own terms in a somewhat different setting.
The goal was to capture the spirit of the music, not the soundtrack recording.
In the case of INSIDE MOVES, we had the good luck to get TOMMY MORGAN to recreate his solos for our recording.
Ford A. Thaxton
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I've been listening on Spotify (and just ordered it). I love the way Dennis McCarthy plays Somewhere in Time - it has a character of its own, and he keeps the emotion building without getting into the red on the schmaltz factor. Really a lovely performance. And segues beautifully into a strong arrangement of Out of Africa.
Really a great showcase of Barry's music with its own feel.
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