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My Black Patch CD arrived this afternoon (Saturday 26th).
And also my copy of the new LLL Star Trek. Some great listening to look forward to on Sunday!
Lucky! It will be weeks before us poor saps in Canada get ST:TMP and Black Patch...
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If it gets Rasil Bathbone's approval then it must be good!
I really can't wait to get this. I've been watching the Youtube link of THE MAN to prepare for it 
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Here's a rare disagreement between us, Yavar; I would have been disappointed if Intrada had moved the source-music main title to the end of the program.
Well, Jens and Clark at The Goldsmith Odyssey surprisingly agree with you... but it still boggles my mind a little. (Actually I'm only sure about one of them being pleased with the placement, but I know they're both glad the music was rerecorded for this disc.)
There are the many people whose priority is the "listening experience" of an album, while others such as I value not just a score's quality as music, but also appreciate a film composer's primary function: supporting a narrative and enhancing drama and character. Since I know BLACK PATCH as a film (as most people don't), I can enjoy on the CD the menace that this piece of uncredited source music conveys in the picture, over the mute introduction of the central character. Sure, "album prioritizers" can program out or skip the title cue -- but not without losing Goldsmith's sense of narrative construction in his first feature.
I disagree, and I've seen the film five time (I actually *really* like it and IMO the only thing that keeps it from greatness is Tom Pittman in the second act). I don't think the source piece shows Goldsmith's sense of narrative construction at all. It has no musical connection to his original score, and I don't think he even selected that source cue; I think it was part of the film audio when he received the film to score -- Leigh Phillips pointed out to me that the music actually matches the on-screen instrument, so it must have essentially been "baked in" when Jerry got on the project. Leigh also originally revealed to me that on the film's written cue sheet, the Main Title source music as well as the later player piano source music (a slightly different though similar sounding piece) is all marked "anon" -- I assume it didn't even have a title! And it certainly wasn't a part of Jerry's scores, as Leigh had to reconstruct the whole thing by ear and essentially complete it, structurally, since in the film the whole piece doesn't play.
You might also be interested to know that all of that aimless harpsichord noodling by the film's villain Frenchy IS actually credited to Jerry on the cue sheet! So if you want to make the argument for wanting Jerry's full function to be included, well... should Intrada have re-created all of that (horribly painful IMO) harpsichord noodling too, especially since it was credited to Jerry Goldsmith himself? It's not thematically connected to his score either, but one could make the argument that he was at least creating/representing a character, musically, with his harpsichord noodling... I for one am very grateful they left all of that off, even as the Goldsmith completist "every cue, every score" nut that I am!
I think Leigh did a great job reconstructing the Main Title piece by ear, and it is prominent enough in the film that I understand Intrada including it -- after all it ironically is the music playing the very first time anyone saw the name "Jerry Goldsmith" on screen in a theater. But for album? I think it interrupts the flow of Goldsmith's own composition.
As it is, the rerecording of this cue already feels a bit augmented for its album presentation, compared to the film's track.
That was out of necessity, because it had to be made into a complete piece. In the film it is edited.
(Frankly, I'd also prefer that the extended Finale had followed and not preceded the film version; which is hardly to say I'm not happy to have these recordings at last.)
On this we can agree 100%. I think Leigh and Bill did a nice job with the extended finale cue, but as someone who loves the film... it just sounds less authentic. I never had a problem with the brevity of the original cue, personally -- it fits perfectly in the film and this is a film score after all. So in iTunes I'll be swapping those two at the same time I move the source music to the end of the album.
But now that the disc is in hand, I'll have to find the time for your relevant podcast!
Please do, and please let me know what you think! We didn't cover the Main Title though, because that was done at a separate later session to Jerry's orchestral score.
Yavar
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My Black Patch CD arrived this afternoon (Saturday 26th).
And also my copy of the new LLL Star Trek. Some great listening to look forward to on Sunday!
Mine arrived today, Tuesday, March 1. Happy Mardi Gras, y'all!
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Just wondering are there others who supported the kickstarter who have not received the CD yet nor a shipping confirmation email?
(in the US I should add)
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This Intrada CD is shipping out to contributors first, though without the label's regular advance-confirmation e-mail messages. Backers should figure their copies will be delivered soon.
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Just wondering are there others who supported the Kickstarter who have not received the CD yet nor a shipping confirmation email?
(in the US I should add)
I have not received the cd or shipping confirmation and I contributed to Kickstarter and I filled out the survey, but I can't wait to get my copy.
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Posted: |
Mar 6, 2022 - 11:02 PM
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By: |
Amer Zahid
(Member)
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Intrada to start regular shipping from Tuesday!!!!
new update from Doug at Intrada.net
https://store.intrada.com/s.nl/sc.13/category.60330/.f
We recorded the complete Jerry Goldsmith scores for both Black Patch (1957) and The Man (1972) just this last October with the Royal Scottish National Orchestra, and the album is being released this Tuesday, March the 8th. Wow! Recorded, mixed, edited, mastered, packaged, manufactured and now ready to ship to your door already! I think it is fair to say we’re getting pretty fast at this. William Stromberg tackled the conducting, Leigh Phillips prepared the scores and we utilized two different orchestras to get everything down: the former, Goldsmith’s very first theatrical film score, required a reasonably standard orchestra excepting Goldsmith wrote no trumpet parts, lending the resulting western music a more brooding, darker edge to it. The latter score utilized an orchestra that certainly had trumpets in full force but now dropped violins, placing violas as the senior upper string sonority. Black Patch is highlighted by an absolutely haunting central theme that underlines the romantic triangle in the story, made sadly moving because the three characters initially are friends rather than competitors and all three care about each other. Goldsmith got inside this aspect of the plot with his minor key theme, in a most tender fashion.
As for The Man, Goldsmith anchors his powerful score around a six-note motif with brass-led Americana flourishes, appropriate for Rod Serling’s take on the Irving Wallace fictional best-seller about the first African American president of the United States. In this brief but magnificent score, Goldsmith illuminates such iconic landmarks as the Lincoln Memorial, the White House and the presidential paintings in the Oval Office. It is fun to ponder the musical power of the Lincoln Memorial sequence, knowing Goldsmith tackled an almost identical dramatic moment in his later, highly celebrated sci-fi score for Logan’s Run.
Contents, artwork and sound samples will be posted here tomorrow evening. Orders will begin shipping on Tuesday. This is our second release made possible through our Kickstarter campaign, following Dimitri Tiomkin’s complex score written for Alfred Hitchcock’s 1954 thriller, Dial M For Murder. If listeners will continue supporting our ambitious but so-very-worthwhile efforts, a third project now in the early stages of pre-production will prove most exciting for sure!.
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Looking forward to seeing what that third project will be.
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