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I'm not as wild about the Goldsmith version, and it has much to do with the performances, besides the missing instruments that JoeC mentions.
(Apologies to Our Brethren Across the Pond: I am unconvinced that British musicians achieve the same sort of jazz-sleaze sound that I think is so very American. You're talented, to be sure, just not in this particular area. You need an American to REALLY sound like a reprobate wastrel who wallows in the gutter, jazz-ically speaking.)
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Heindorf over Goldsmith, definitely, but I think the best version of the corresponding pieces are on North's North of Hollywood where he substitutes the sax (censored from the original) for the clarinet.
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Also, back in the 50s, in an interview in down beat magazine, Miles Davis raved about the Streetcar score and said if anybody could write for strings in the jazz idiom, it'll be North. I've read dozens of interviews with Miles Davis, and this is the only instance of Miles commenting on a specific film score.
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You need an American to REALLY sound like a reprobate wastrel who wallows in the gutter, jazz-ically speaking.)
Not that there's not any British Reprobate Wastrels! I can think of one, and he even posts here! 
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Heindorf over Goldsmith, definitely, but I think the best version of the corresponding pieces are on North's North of Hollywood where he substitutes the sax (censored from the original) for the clarinet.
Ooo! I missed this! I remember seeing AN getting a copy of the document censoring his music, at a screening of the movie.
I wonder if I have the NoH recording.....
I do! Not listened to yet! Will do!
Thanks, Villa!
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