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"Greetings, Dr. Jones!"
***
"Why, Professor Liverance, as I live and breathe!"
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Posted: |
Oct 4, 2021 - 12:33 AM
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By: |
Amer Zahid
(Member)
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Updates from Doug at Intrada:
http://store.intrada.com/s.nl/sc.13/category.60330/.f
10/3/2021
In one week we’ll be in Glasgow, recording two never-before-available Jerry Goldsmith scores with the Royal Scottish National Orchestra. We’ll have William Stromberg on the podium and Simon Rhodes in the booth, ensuring everyone this is going to be one sensational album! The Man is Goldsmith scoring in his most powerful Americana vernacular, right down to the brilliant opening fanfare, written in a soaring brass and percussion-dominated Coplandesque manner. When James Earl Jones picks up that telephone and answers, “Yes, this is Douglass Dillman speaking”, not only is Jones about to become the first African American President of the United States (well, in fictional 1972 Hollywood terms), but Goldsmith announces this historical event to the world.
Black Patch takes us all the way back to Goldsmith’s very first film score, written in 1957. It’s a western, a genre in which fans particularly love the composer’s work. And the central love theme for this score is one of Goldsmith’s most haunting of a lengthy career filled with great themes.
As for this week’s newest CD, we are simply pairing the two most requested and popular of the six albums included in our praised Elmer Bernstein collection of Ava titles from the 1960’s: To Kill A Mockingbird and Walk On The Wild Side for those who just want those two landmark recordings together on a single disc. For anyone wondering, of the many recordings of To Kill A Mockingbird thus far released, none really compares with the original 1962 album. Captured in crisp stereo sound, this very first version has the particular detail and intimacy from close miking that the treasured score benefits from. With many of the players from the actual soundtrack sessions involved, it is simply the one to enjoy. Copies will be available starting this Tuesday, October 5.
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Updates from Doug at Intrada:
http://store.intrada.com/s.nl/sc.13/category.60330/.f
10/3/2021
In one week we’ll be in Glasgow, recording two never-before-available Jerry Goldsmith scores with the Royal Scottish National Orchestra. We’ll have William Stromberg on the podium and Simon Rhodes in the booth, ensuring everyone this is going to be one sensational album! The Man is Goldsmith scoring in his most powerful Americana vernacular, right down to the brilliant opening fanfare, written in a soaring brass and percussion-dominated Coplandesque manner. When James Earl Jones picks up that telephone and answers, “Yes, this is Douglass Dillman speaking”, not only is Jones about to become the first African American President of the United States (well, in fictional 1972 Hollywood terms), but Goldsmith announces this historical event to the world.
Black Patch takes us all the way back to Goldsmith’s very first film score, written in 1957. It’s a western, a genre in which fans particularly love the composer’s work. And the central love theme for this score is one of Goldsmith’s most haunting of a lengthy career filled with great themes.
FYI, John Williams is the pianist on "Mockingbird"
As for this week’s newest CD, we are simply pairing the two most requested and popular of the six albums included in our praised Elmer Bernstein collection of Ava titles from the 1960’s: To Kill A Mockingbird and Walk On The Wild Side for those who just want those two landmark recordings together on a single disc. For anyone wondering, of the many recordings of To Kill A Mockingbird thus far released, none really compares with the original 1962 album. Captured in crisp stereo sound, this very first version has the particular detail and intimacy from close miking that the treasured score benefits from. With many of the players from the actual soundtrack sessions involved, it is simply the one to enjoy. Copies will be available starting this Tuesday, October 5.
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Posted: |
Oct 4, 2021 - 7:15 PM
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By: |
Amer Zahid
(Member)
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Elmer Bernstein
Label: Intrada INT 7166
Film Date: 1962 / 1962
Album Date: 2021
Time: 63:25
Tracks: 24
Reissue of the two most celebrated scores from our acclaimed boxed collection of six Ava albums composed and conducted by Elmer Bernstein for the Ava label in the early 1960’s. As were all six recordings, both of these scores are presented from the original first-generation stereo masters vaulted in pristine condition. Each had earlier releases on various vinyl and CD labels, our Intrada presentations are the only ones mastered from the actual stereo masters, long missing in action. To Kill A Mockingbird has enjoyed several different performances on other labels but this original 1962 version has the crispest and most detailed audio, so essential to the intimacy and orchestral timbres of this often very transparent score. From the delicacy of one-handed piano lines, solo flute, wistful accordion harmonies, harp and other subtle colors playing for Atticus Finch and his children to the full-blooded orchestral dynamics of Scout and Jem rolling in the tire or fleeing in terror of the mysterious Boo Radley, Bernstein’s justifiably famous film score is perfection indeed! Gregory Peck leads the cast in his most famous role, with Robert Duvall making his film debut. Mary Badham and Philip Alford offer the impeccable characterizations of the two children. Robert Mulligan directs, Horton Foote scripts from Harper Lee’s Pulitzer Prize-winning book. Companioning with this moving, highly melodic and Academy Award-nominated masterpiece is another 1962 film score classic from the Ava Collection, Walk On The Wild Side. Taking a 180-degree turn, Bernstein now launches with his powerful, symphonic jazz-influenced theme for full orchestra with dips into smaller combo passages. And, of course, there is that memorable solo triangle that opens and closes this imposing score. In between are Bernstein’s trademark lush orchestral themes, jazz numbers for big band and New Orleans-flavored sequences for small ensembles. Laurence Harvey leads the cast with Barbara Stanwyck as the Madame of a large brothel. A very prominent early role for Jane Fond as a prostitute and strong parts for Capucine and Anne Baxter round out the cast. Nelson Algren wrote the book this was based on with Edward Dmytryk directing. If you already have our earlier six-score Ava Collection, you need not apply for this two-score reissue beyond the possible desire of having the main headliners on a single disc. Elmer Bernstein composes and conducts both scores. Original 1962 album artwork graces the handsome CD booklet designed by Kay Marshall. These legendary scores in vivid stereo audio qualify as must owns!
TO KILL A MOCKINGBIRD
01. Main Title (2:57)
02. Roll In The Tire (2:08)
03. The Search For Boo (2:44)
04. Jem’s Discovery (3:24)
05. To Kill A Mockingbird (2:12)
06. Tree Treasure (3:52)
07. Lynch Mob (2:55)
08. Footsteps In The Dark (2:00)
09. Children Attacked (2:06)
10. Scout & Boo (2:37)
11. Summer’s End (2:52)
Total Time: 30:02
WALK ON THE WILD SIDE
12. Walk On The Wild Side (2:43)
13. Somewhere In The Used To Be (2:02)
14. Hallie’s Jazz (3:35)
15. Rejected (4:05)
16. Doll House (2:37)
17. Teresina (1:53)
18. Night Theme (2:19)
19. Walk On The Wild Side Jazz (2:18)
20. Dove (2:31)
21. Kitty (2:37)
22. Oliver (2:28)
23. Reminiscence (1:42)
24. Finale (1:36)
Total Time: 33:19
http://store.intrada.com/s.nl/it.A/id.12479/.f?sc=13&category=-113
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Knowing nothing about previous releases, is this a complete film version or a re-recording for TO KILL A MOCKINGBIRD? Based on the description I’m assuming the latter, but it’s a bit unclear as it says “for the AVA label”, which I’m assuming means it was recorded fresh, specifically for album release.
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Knowing nothing about previous releases, is this a complete film version or a re-recording for TO KILL A MOCKINGBIRD? Based on the description I’m assuming the latter, but it’s a bit unclear as it says “for the AVA label”, which I’m assuming means it was recorded fresh, specifically for album release.
It was a re-recording for the AVA LP album made just a few weeks after the film recording with most of the same musicians and also very faithful to that original recording.
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EB also conducted two subsequent re-recordings, one for his Film Music Collection, and one for Varese. Both are splendid jobs, not surprisingly, and contain cues not found on the original Ava album, but that first slightly-abridged AVA presentation is unsurpassed in preserving the magic of the composer's masterpiece.
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