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 Posted:   Sep 4, 2021 - 3:25 PM   
 By:   Sir David of Barkeley   (Member)

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.)

 
 
 Posted:   Sep 4, 2021 - 5:05 PM   
 By:   villagardens553   (Member)

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.

 
 
 Posted:   Sep 4, 2021 - 5:10 PM   
 By:   villagardens553   (Member)

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.

 
 
 Posted:   Sep 4, 2021 - 5:11 PM   
 By:   Moonlight   (Member)

I am not a fan of the Goldsmith recording at all.

The original recording by Heindorf and the Nonesuch compilation recording is the way to go.

 
 
 Posted:   Sep 4, 2021 - 5:12 PM   
 By:   Moonlight   (Member)

.

 
 Posted:   Nov 23, 2021 - 5:11 PM   
 By:   Sir David of Barkeley   (Member)

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! smile

 
 Posted:   Nov 23, 2021 - 5:13 PM   
 By:   Sir David of Barkeley   (Member)

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!

 
 
 Posted:   Nov 24, 2021 - 8:24 AM   
 By:   jskoda   (Member)

When did the union rules about paying the film orchestra twice for commercially released sound track recordings go into effect? Sometime in the late 1950s or early 1960s maybe?

I'm guessing that because, before then, when movie scores were released on records, they were usually the sound track performances. But in the 1960s, the reverse was true--the records were usually studio redos, except for musicals, which were usually the sound tracks.

The union rule is what made it financially sensible to do complete redos for records, right?

 
 
 Posted:   Nov 24, 2021 - 11:36 AM   
 By:   finder4545   (Member)

When did the union rules about paying the film orchestra twice for commercially released sound track recordings go into effect? Sometime in the late 1950s or early 1960s maybe?

I'm guessing that because, before then, when movie scores were released on records, they were usually the sound track performances. But in the 1960s, the reverse was true--the records were usually studio redos, except for musicals, which were usually the sound tracks.

The union rule is what made it financially sensible to do complete redos for records, right?


There are more reasons. And not just economic.
Look at these precious OnyaBirri threads:

Film Score Vs. LP Recording Quality, 1950s & 60s
https://www.filmscoremonthly.com/board/posts.cfm?threadID=106380&forumID=1&archive=0

1950s Recording Studios vs. Scoring Stages
https://www.filmscoremonthly.com/board/posts.cfm?threadID=140318&forumID=1&archive=0


 
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