Veröffentlichung Kurz & knapp: Sammelthread für "kleine" Veröffentlichungen

[ronin1975]

Etwas zu spät, aber bis auf ein zwei cues kann man das jederzeit hören find ich: Fernando Velazquez hat ein Weihnachtskonzert aufgenommen, FELIZ NAVIDAD... wie weit das spanische Traditionals oder Eigenkompositionen sind kann ich jetzt gar nich sagen. Er hat vor Jahren mal eins selbst geschrieben, das erscheint mir eine Erweiterung zu sein. Muss das mal rauskramen, hatte er mir mal geschickt.

so oder so, wunderbare Chormusik, sehr flott und fröhlich, streckenweise erinnerts mich an beste Elfman Zeiten...

auf Spotify...

[Oliver79]

Anlässlich des 80. Geburtstags von Andrzej Korzynski bringen GAD Records am 13. März noch einen weiteren Sampler:

Zitat

 

Master of film music will turn 80 on 2 March 2020! To celebrate the occasion GAD Records has compiled a special, cross-cutting release which will be a delight for his loyal fans and for those who have come across Andrzej Korzyński’s music for the first time.

“80” is a colorful journey through several decades, full of unexpected twists, turns and surprises. You will find there “Baby Bump” – the fruit of Arp Life project, timeless and used, among all, in “Człowiek z marmuru” movie, some poignant string themes from “Wedle wyroków twoich” and “Janka”, or electronic frenzies of the 1980s (“Akwen Eldorado”, “07 zgłoś się” or “Japoński solfeż”). In all and any of these facets, Andrzej Korzyński remains faithful to himself, combining an extraordinary craft of melodicist with his fascination with sound tints.

“80” compilation provides a wide selection of recordings from the entire career of Andrzej Korzyński, until this day. A number of themes has been published on the disk for the first time. The booklet is added with a short essay written for the occasion and the artist’s photos. The compilation marks the start of a large project – “Korzyński 80” – year-long celebrations of the achievements of this exceptional composer.

1. Baby Bump
2. Polka zamiast kwiatów
3. Czołówka serialu „Tajemnica Enigmy”
4. Temat z serialu „Zielona miłość”
5. Temat z filmu „Wszystko na sprzedaż”
6. Temat z filmu „Akademia Pana Kleksa”
7. Temat „Apokalipsa” z filmu „Szamanka”
8. Temat z serialu „Janka”
9. Temat z filmu „Trzecia część nocy”
10. Czołówka serialu „Akwen Eldorado”
11. Temat „Miasto podziemne” z filmu „Na srebrnym globie”
12. Temat z serialu „07 zgłoś się”
13. Temat z filmu „Wierność”
14. Czołówka z filmu „Ocalenie”
15. Temat z serialu „Anna Maria”
16. „Do You Like Henky Penky Love” z filmu „Wielki Szu”
17. Temat z filmu „Mes nuits sont plus belles que vos jours”
18. Czołówka filmu „Agent nr 1”
19. Temat z serialu „Tygrysy Europy”
20. Temat z filmu „Le Grabuge”
21. Motyw przewodni z serialu „Tulipan”
22. Czołówka filmu „Motyle”
23. Fantazja z filmu „Pięć kobiet na tle morza”
24. Temat z film „Opętanie”
25. Temat „Monika” z serialu „Florian”
26. Temat z serialu „Oko proroka”
27. Japoński solfeż
28. Temat z filmu „Wedle wyroków twoich”
29. Temat z filmu „Bestia”
30. Czołówka i „Bossa Nova” z filmu „Polowanie na muchy”

 

 

[ronin1975]

FUKUSHIMA 50  - Tado Iwashiro

Zum 9ten Jahrestag der Erdbeben-Tsunami-SuperGAU Katastrophe gibts in Japan jetzt eine Verfilmung der Ereignisse. Sehr elegische, sicher nicht subtile Musik mit Chor Und Violin-Soli (von wohl bekannten Japanern), bei der allerdings kein Auge trocken bleibt. Die ersten 4 Tracks sind eine ‚Sinfonie‘ basierend auf dem Score. Die paar Scoretracks danach bieten dann auch nicht mehr viel Neues, einen choralen Song und ein leider irgendwie enttäuschendes Abschlussstück, das einfach so ausläuft.

Trotzdem, doch ziemlich bewegend. Iwashiro wie man ihn kennt, aber ne ganz Spur besser sls sonst.

Im Filmzusammenhang mag es ggfs. sehr kitschig sein, wenn die ‚50‘ Helden abgefeiert werden. Andererseits hat halb Japan es diesen paar Leuten zu verdanken, dass es noch steht... wahrscheinlich schwer in Bild und Ton adequat zu fassen.

Wird es sicher als Konzertaufführungen geben.

Auf spotify japan zumindest zu haben. Findet wer nen Link?

 

[scorefun]

https://open.spotify.com/album/5TEzRodQWDClpEHosscNS6?si=-_guo1T9TbiFOgTXCpxyAw

Höre ich mal rein...

 

 

[Oliver79]

Bei Varese Sarabande erscheint am 17. April ein Doppelalbum mit der Musik aus Iain Softleys Hackers. Neben den im Film verwendeten Songs enthält das Set auch bisher unveröffentlichte Score-Cues von Simon Boswell.

Zitat

 

The definitive soundtrack to the film Hackers is being released in conjunction with the 25th anniversary of the film, exclusively from Varèse Sarabande Records. The double CD set features music from an incredible lineup of electronic artists, and nine never-before-released score tracks including “Hackers Suite” performed by composer Simon Boswell, as well as two pieces by Guy Pratt, “One Combination” and “Grand Central Station” featuring David Gilmour.

“This was such a fun thing to do, had to quickly knock it up at home and then David swung by and did his inimitable thing in one take.” – Guy Pratt

Additionally, tracks that were not on the original soundtrack release in 1995, including “Protection” by Massive Attack and “Open Up” by Leftfield, are part of this special  edition. The commemorative package includes new notes from director Iain Softley and unreleased photos of the cast.

 

 

[ronin1975]

Proxima - Ryuichi Sakamoto

Sphärisches vom jap. Komponisten. Nett. 30min auch nur. Viel mehr kann man dazu nicht sagen.

 

[Oliver79]

Ein neuer Horror-Score von Howlin' Wolf Records:

Zitat

 

Once you open the box ...you can't escape it

Howlin' Wolf Records proudly presents Christoph Allerstorfer's score for THE JACK IN THE BOX. In early discussions with the composer, Director Lawrence Fowler envisioned a score in the tradition of classic horror films. THE JACK IN THE BOX was recorded in Vienna using a small ensemble of musicians, which the composer skillfully blends with modern scoring techniques, to craft a richly textured score.

Composer Christoph Allerstorfer has a fantastic ability to find the perfect sound to not only complement and enhance the most intense action-based scenes, but also compose the most sentimental of pieces to throw the audience into the head of our characters during quiet emotional moments.

- Lawrence Fowler, Director

THE JACK IN THE BOX features a 16-page booklet with a foreword by Director Lawrence Fowler and liner notes by Composer Christoph Allerstorfer, all beautifully packaged with designs by Howlin' Wolf Records Art Director Luis Miguel Rojas.

 

 

[Oliver79]

Das russische Label Keepmoving Records hat zwei neue Alben mit Scores zu aktuellen einheimischen Produktionen veröffentlicht:

Zitat

 

KeepMoving Records presents the original soundtrack by George Kallis (Gagarin: First in Space, Albion The Enchanted Stallion), who paints a musical portrait of a true legend of the Soviet Union – legendary goalkeeper Lev Yashin, The Dream Goalkeeper. As one of the first keepers to leave his goal and help his defense actively, Yashin revolutionized his post and was honored with a Ballon d’Or, the only goalkeeper to do so. Directed by Vasiliy Chiginskiy and starring Aleksandr Fokin, the movie depicts Yashin’s life from humble beginnings to becoming a legend of Dynamo Moscow and the feared Black Spider of the national team of the Soviet Union. The digital version is released concurrently by Swedish soundtrack label MovieScore Media.

As a tribute to the film scoring style of the 1960s, George Kallis developed a plethora of themes developed for the story. The love theme between Lev and his wife Valya is expressed by a tender love motif heard in “Lev and Valya“. Yashin’s stature as a legend gets introduced rather modestly and briefly at first in “Yakushin’s Advice“ and ‘Fishing and Remembering’ before returning in its full orchestral arrangement on ‘Alone by the Goalpost’. Another motive for Yashin himself can be heard on ‘Ballon d’Or’ and in the second half of ‘Alone by the Goalpost’. Finally, ‘Mirroring Khomich’ (the previous Dynamo Moscow goalkeeper) and ‘Training’ offer a propulsive idea reflecting on Yashin’s constant need to improve himself by pushing himself to the very edge of physical and mental capabilities.

George Kallis earned a musical scholarship to the Berklee College of Music in Boston and represented his alma mater on an NBC special about film music in his final year. After relocating to London, he followed up his Bachelor’s Degree with a Masters of Music in Composition at The Royal College of Music. His first important score was written for Highlander: The Source, the fourth installment of the fantasy franchise. Since then, he has written epic scores for the ebola crisis (93 Days), the magical kingdom of Albion (Albion: The Enchanted Stallion) and even his native Greece (Cliffs of Freedom). He has also ventured into the world of Russian cinema with Gagarin: First in Space and Disney’s The Last Warrior.

 

Zitat

 

KeepMoving Records releases Yuri Poteyenko’s latest score for Saving Leningrad. Directed by Alexey Kozlov, the film is based on the true story of Barge 752, one of the biggest shipwreck tragedies of Russian history. Originally designed as a fishing boat, Barge 752 was not designed for passenger transport, yet over a thousand people were loaded onto it during the evacuation of the city. When the ship crashed in a storm, only 200 of the estimated 1500 passengers reached the shore safely. The true story of Barge 752 was kept classified until 2004 and even when it was released to the public, only a few people learned about it. This is about to change with Saving Leningrad, aimed to raise awareness about this shocking event to a wider audience.

Composer Yuri Poteyenko is no stranger to the story of the siege, having scored several movies about either the city of Leningrad or World War II in general. He scored Aleksandr Buravskiy’s Leningrad (2009), still the most epic retelling of the siege, featuring American actors such as Mira Sorvino or Gabriel Byrne for a more international appeal. Poteyenko’s score focused a lot on the human side of the story – both for heroic deeds and tragic personal fates. For the tank battle action film White Tiger (2012), Poteyenko’s two additional cues had the music of Shostakovich clash with Wagner-inspired material for the ultimate musical showdown between the Russian and the German army. Poteyenko’s music for Frontier (2018) explored World War II from a youth fantasy perspective as a kid is sent back in time to the time of the Great Patriotic War. Last but not least, he scored director Alexey Kozlov’s previous movie, The Forbiddance (2015) which also happened to take place on Lake Ladoga.

The music for Saving Leningrad alternates between high-octane battle pieces as well as Shostakovich-inspired cues that showed the darker side of Mother Nature with the storm being a much deadlier enemy than any German fighter pilots. The other half of the cue features the romantic moments for a couple whose relationship is tested by the tragedy. The soundtrack features almost the whole underscore recorded for the movie. As it is so typical of Russian films, some of the cues have been moved around or repeated, but have been reconfigured for the most optimal listening experience for the CD. The album comes with liner notes by Gergely Hubai discussing the historical events, the film and the score.

 

 

[Lars Potreck]

vor 1 Minute schrieb Oliver79:

Das russische Label Keepmoving Records hat zwei neue Alben mit Scores zu aktuellen einheimischen Produktionen veröffentlicht:

 

Lev Yashin ist schon bestellt und Saving Leningrad order ich demnächst auch noch. Der gefiel mir im Film auch schon ganz gut.

[Alexander Grodzinski]

Zitat

CD includes Digital Download-24 Bit Wav, MP3, Digital PDF

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE LOUIS FEBRE COLLECTION, VOLUME 1, featuring music composed by Louis Febre for two projects from his extensive filmography, BIGFOOT: THE UNFORGETTABLE ENCOUNTER and THE HAUNTED WORLD OF EDWARD D. WOOD JR.

BIGFOOT: THE UNFORGETTABLE ENCOUNTER was one of the many films Louis Febre scored for PM Entertainment. Released in 1994, BIGFOOT tells the tale of a young boy named Cody who befriends one of the legendary forest creatures in the Pacific Northwest wilderness, and then risks his safety to save the Bigfoot when hunters place a bounty on the creature’s head. Zachary Ty Bryan, known for his role as the older son on Tim Allen’s long-running TV series HOME IMPROVEMENT, plays Cody, supported by Matt McCoy, David Rasche, and Crystal Chappell, with Gary Maloncon playing the ape-like Bigfoot. Febre’s score is appropriately family friendly music, nothing too aggressive or scary, but quite melodic and the score fits the tone of the lighthearted adventure film, focusing on the character interaction and the moderate skirmishes in the storyline.

Brett Thompson’s 1996 documentary film THE HAUNTED WORLD OF EDWARD D. WOOD JR. was a sincere labor of love, tracing in detail the strange and perhaps unsettling career of the low-budget filmmaker whose means never seemed to meet the needs of his creative ambitions. Wood’s five feature films of the 1950s, GLEN OR GLENDA, JAIL BAIT, BRIDE OF THE MONSTER, NIGHT OF THE GHOULS, and the infamous PLAN 9 FROM OUTER SPACE, have given the cross-dressing filmmaker his legendary status as “the worst filmmaker of all time”. Told through a myriad of film clips, newly-filmed set pieces, and intriguing (perhaps even shocking) interviews with a unique cadre of actors, associates, ministers, and girlfriends, the film is at once a tribute, scandal, and fascinating examination of the Man Behind The Plan; and a carefully researched biography that stays closer to the truth than much else that has been written or filmed about Edward Wood Jr. Febre composed a delicate and compelling score with moments of striking melody and fragrance, from the serenity of his prologue music through the various pieces accompanying Wood’s story and culminating with the melancholy denouement.

Louis Febre is a Mexican born composer who began his career and honed his trade by scoring a plethora of low-budget action and family films. He is best known for his work on the television series SMALLVILLE (2007-2012) as well as ABC’s 2011 TV reboot of CHARLIE’S ANGELS, the CBS 2000-2001 remake of THE FUGITIVE, and the 1997 syndicated series THE CAPE. Febre shared an Emmy win with co-composer John Debney for the pilot episode of THE CAPE. He has collaborated with other composers as orchestrator or additional music composer on projects such as THE X-FILES, DESPERATE HOUSEWIVES, CATS & DOGS, JIMMY NEUTRON, CHICKEN LITTLE, ONCE UPON A TIME IN WONDERLAND, and more.

Dragon’s Domain Records presents THE LOUIS FEBRE COLLECTION, VOLUME 1 on  compact disc for the first time, featuring music composed by Louis Febre.  The music has been mastered by James Nelson at Digital Outland and includes liner notes written by author Randall Larson with the participation of the composer.

Ships the week of April 13th

THE HAUNTED WORLD OF
EDWARD D. WOOD JR. (1995)
(Original Score)
01. Prologue (1:39)
02. Opening Titles / Vampira’s Intro (1:00)
03. Ed’s Early Years (2:35)
04. Silent Films / I Was Cast as a Vampire (1:50)
05. Ed in the Marines (1:19)
06. Hollywood / Wood Thomas Productions /I Am Vampira (1:30)
07. Crossroads to Laredo (1:35)
08. Little Home Movie (0:56)
09. Ed Gets Married / Church Organ (1:08)
10. Bela’s Last Movie / Ed’s Final Days and The Funeral (3:08)
11. Curtain Call and End Credits (5:00)

BIGFOOT: THE
UNFORGETTABLE ENCOUNTER (1994)
(Original Score)
12. Main Title (2:45)
13. Bigfoot and the Rednecks /It Got Walter (2:52)
14. Ugly Crowd / The Hunt Begins (1:25)
15. Kids in the Forest /Where’s Cody? (3:15)
16. Cody Sees Bigfoot /Search for Cody (3:02)
17. Bigfoot Saves Cody (5:46)
18. Forest Trek / Bigfoot Captured (7:50)
19. Bigfoot Caged / Walter’s Story (1:51)
20. Breaking Bigfoot Out (2:55)
21. The Waterfall and the Climb (6:34)
22. Race to the Sanctuary (6:09)
23. Bigfoot’s New Home (6:37)
Total Time: 73:41

Zitat

BSX Digital presents the original motion picture soundtrack to FISTS OF IRON featuring music composed by Louis Febre for the 1995 action film directed by Richard W. Munchkin (RING OF FIRE I & II), written by Sean Dash, starring Michael Worth, Sam J. Jones, Eric Lee, Mathias Hues, Nicholas Hill and Marshall Teague, featuring fight choreography by Art Camacho. Produced by Century Film Partners, FISTS OF IRON tells the story of Dale Hartwell (Worth) and his best friend, Matt Sheldon (Hill). When Matt invites Dale to a fancy mansion owned by Peter Gallagher (Teague), both of their lives are changed forever. Gallagher, it turns out, is holding an illegal martial arts tournament known as the All-Stars Tournament. Victor Bragg (Hues) is the current champion. Matt takes on Bragg and is mercilessly beaten to within an inch of his life. Matt dies after they escape from the mansion and Dale vows to avenge the death of his friend. To prepare for his revenge, Dale gets help from Daniel and Tyler, two guys who have a history with Peter Gallagher. At the same time, Dale has fallen for Julie, who is Gallagher's girlfriend. Dale completes his training in time for the next tournament at Gallagher's mansion. Nothing or no one person will stand between Bragg and Dale's vengeance.

 

Louis Febre is a composer working in Los Angeles. A trained pianist, his career in composition began in independent films and television commercials. Febre began his career with B-movie company PM Entertainment before meeting his friend and mentor John Debney. The two formed a partnership that would produce successful collaborative efforts such as the movie DOCTOR WHO, and led to Louis' first television series, THE CAPE, which would earn him an Emmy for Best Dramatic Underscore. The two continue to work together to this day. Febre has enjoyed success with the movies SWIMFAN, TOWER OF TERROR (Disney), and a set of SCOOBY-DOO television movies. In 2001, he could be found collaborating with Steve Jablonsky on the first season of the hit television series DESPERATE HOUSEWIVES. As an additional orchestrator, he worked again with John Debney on CATS & DOGS, JIMMY NEUTRON, the Disney film CHICKEN LITTLE, DISNEYWORLD TOKYO, and with Mark Snow on THE X-FILES. With the departure of Snow from the television series SMALLVILLE, Febre became the credited composer in 2007. Louis Febre continues to work in television and independent films. Most recently, he composed the score for the award winning Colombian film BASTARDS Y DIABLOS.

 

01. Main Title 4:06
02. Got Pay for Miracles 1:25
03. Bar Fight 1:32
04. Home At The Beach 2:22
05. Piano Interlude 2:31
06. Prize Fight #1 1:47
07. Prize Fight #2 2:27
08. Matt’s Death 2:20
09. Another Barfight 0:54
10. Back to Gallagher’s Place 1:03
11. Dale’s First Fight 2:19
12. Dale and his Daughter 1:59
13. Moving the Boulder 2:27
14. Fight Montage 4:37
15. The Kiss 0:42
16. Garage Fight / Sad Julie 2:31
17. Dale vs. Hiroshi 2:19
18. Julie and Dale 2:11
19. Julie’s Call & The Bomb 1:59
20. $25,000 Buy In / The Final $2000 1:31
21. Gallagher’s Tournament Of Champions 0:57
22. The Tournament Begins 5:41
23. Final Fight: Victor vs. Dale 4:42
24. Gallagher Goes to Town / Pay the Man 1:52
25. End Credits 3:12
Total Time: 60:16

Zitat

BSX Digital presents the original motion picture soundtrack to T-FORCE, featuring music composed by Louis Febre for the 1994 action film directed by Richard Pepin (FIST OF HONOR, CYBER TRACK, L.A. HEAT television series), starring Jack Scalia, Vernon Wells, Martin E. Brooks and Erin Gray as Mayor Pendleton, featuring music composed by Louis Febre. T-FORCE tells the story of an elite team of counter-terrorists code named Terminal Force brought in to deal with a terrorist threat at an embassy in Los Angeles. What sets them apart from other law enforcement officers is that they are the world's first fully cybernetic law enforcement unit. After six hostages are accidentally killed during their rescue operation, the decision is made to shut down the Terminal Force program. Perceiving their shutdown as a threat to their self preservation, Terminal Force rebels and goes on a rampage. Lieutenant Floyd (Scalia) teams up with Cain, the only member of Terminal Force who chooses to obey the law, to hunt down Terminal Force and destroy them.

 

Louis Febre is a composer working in Los Angeles. A trained pianist, his career in composition began in independent films and television commercials. Febre began his career with B-movie company PM Entertainment before meeting his friend and mentor John Debney. The two formed a partnership that would produce successful collaborative efforts such as the movie DOCTOR WHO, and led to Louis' first television series, THE CAPE, which would earn him an Emmy for Best Dramatic Underscore. The two continue to work together to this day. Febre has enjoyed success with the movies SWIMFAN, TOWER OF TERROR (Disney), and a set of SCOOBY-DOO television movies. In 2001, he could be found collaborating with Steve Jablonsky on the first season of the hit television series DESPERATE HOUSEWIVES. As an additional orchestrator, he worked again with John Debney on CATS & DOGS, JIMMY NEUTRON, the Disney film CHICKEN LITTLE, DISNEYWORLD TOKYO, and with Mark Snow on THE X-FILES. With the departure of Snow from the television series SMALLVILLE, Febre became the credited composer in 2007. Louis Febre continues to work in television and independent films. Most recently, he composed the score for the award winning Colombian film BASTARDS Y DIABLOS.

 

1. T–Force Main Title (8:03)
2. Terminal Force Arrives and Building Attack (11:35)
3. I Hate Robots! (1:56)
4. Self–Preservation (2:23)
5. Virtual Sexy Blonde and Genesis Lab Massacre (2:02)
6. Police Station Attack (2:47)
7. You’re Threatening Our Self–Preservation (3:02)
8. Guns, Bombs and T-Force (1:06)
9. Can We Procreate? (1:37)
10. Did They Take Anything Else? (1:21)
11. Assassination Attempt on the Mayor (5:35)
12. What If We Are Corrupt? / Jack’s Story (2:34)
13. Cybernaut Brain Surgery (2:37)
14. Cybernaut Hunt / The Big Chase (6:16)
15. The End of Zeus and Cain’s Death (7:38)
16. Jack, Kiss My Butt and Finale (8:13)
17. T–Force Pog - Del Taco 30 Second Bed (0:32)
Total Time: 69:59

Zitat

Dragon's Domain Records, to be distributed by buysoundtrax.com, presents SANTA BARBARA: A MUSICAL PORTRAIT, featuring music composed by Joe Harnell for the soap opera series that ran on NBC daytime television from July 1984 through January 1993. The show was created by Dobson Productions and New World Television—the Dobson family was known for creating GENERAL HOSPITAL and were head writers for GUIDING LIGHT and AS THE WORLD TURNS prior to the debut of SANTA BARBARA; the show was the first TV co-production for the television arm of Roger Corman’s New World Pictures. 

SANTA BARBARA’s storyline followed the lives of several prominent families at odds with one another, set in the Southern California mission town of Santa Barbara. One of the show’s interesting angles was centering one of its major plots around the murder of a prominent citizen, with various characters being accused of the crime, allowing for an ongoing plot thread around and through which many other subplots would intersect across the nine-year arc of the story. The serial became quite popular, winning 24 Daytime Emmy Awards, 18 Soap Opera Digest Awards, and was broadcast in more than 40 countries around the world.

In 1984 Joe Harnell was hired to compose a music library for the SANTA BARBARA series. Due to the daily schedule of soap operas as well as their long duration, original music wasn’t composed for each episode; rather composers like Joe would compose and record a variety of music—pieces that could be used for all manner of situations and circumstances anticipated to be needed for the show’s storyline, which could then be inserted throughout the whole series for various sequences as needed.

Harnell scored a main title theme and approximately four hours of music to give SANTA BARBARA’s music editors plenty of material to cover the serial’s hoped-for duration. He conceived, composed, and orchestrated a wide-ranging musical landscape that could be used for the kinds of situations the producers expected scripts to demand. The music was then recorded by a 40-piece orchestra with emphasis on rhythm section, with Joe himself playing the keyboards. Before the series premiered, however, the producer who hired Joe left and was replaced by a number of new producers; as happens in Hollywood, these new producers wanted to bring in their own people, so Harnell’s entire music library was tossed out and a team of new composers were brought in to write and record their own music library. With one exception: the executive producers loved Joe’s main title theme and insisted it be used as the main title music throughout the serial’s duration.

Joe Harnell was born in 1924, in the Bronx. He began studying piano at the age of 6. His professional career started at age 14 as jazz pianist playing with name bands while continuing serious musical studies. In high school, he began arranging and studying orchestral instruments. He received a scholarship to the University Of Miami for piano and trombone. In 1943, he entered the Air Force, where he soon began touring with the Glenn Miller Air Force Band, serving both in the United States and Europe. While still in the service, he attended composition classes with Nadia Boulanger in Paris, then later with William Walton in London at the Trinity College Of Music. He returned to the United States and was discharged from the Air Force in 1946. During the summers of 1949 – 1951, he continued his studies in composition with Aaron Copland at Tanglewood. He also held the post of musical director with Grey Advertising in New York City for three years. Joe resumed his professional career as a pianist and arranger and began a new career as musical director for many celebrated singers. Shortly thereafter, he took on a new role as recording artist himself and, to date, recorded 18 albums – among them his Grammy winning “Fly Me To The Moon”.

From 1967 to 1973, Joe was the musical director for THE MIKE DOUGLAS SHOW. Following his success with THE MIKE DOUGLAS SHOW, Joe came to California, where he began his career as a composer of film and television music. Joe composed music for numerous television movies and series including CLIFFHANGERS, HOT PURSUIT, THE INCREDIBLE HULK, V – THE ORIGINAL MINI-SERIES and ALIEN NATION. He has been nominated for an Emmy on three separate occasions for Best Dramatic Score. In his lifetime, he composed over 400 hours of original music for television and motion pictures. His scores for THE BIONIC WOMAN and THE INCREDIBLE HULK heavily influenced the scoring of all Universal television programs in the late 1970’s. His scores used a traditional orchestral approach (influenced by his Jazz roots) using a 32 piece orchestra. He frequently conducted scores from the piano during recording sessions and he performed all the piano and keyboard solos in all of his scores. Joe remained active composing and performing until his passing on July 15^th, 2005 from heart failure at the age of 80.

Dragon's Domain  Records presents the world premiere soundtrack release of SANTA BARBARA: A MUSICAL PORTRAIT in loving memory of the great Joe Harnell. SANTA BARBARA: A MUSICAL PORTRAIT is limited to 500 units and professionally mastered by James Nelson at Digital Outland, including liner notes written by author Randall Larson.

Ships the week of April 13th

1. Santa Barbara (2:43)
2. Arrival in Santa Barbara (4:34)
3. Lost Love (3:05)
4. Slow Dance (2:55)
5. It Was You (2:26)
6. Light and Happy (2:13)
7. Naughty Girl (2:57)
8. Big Band Boogie (2:07)
9. Young Love (3:15)
10. Lurking In The Basement (3:39)
11. Dinner Music (1:42)
12. Memories of the Past (2:29)
13. Wine & Kisses (2:18)
14. Stalker (3:11)
15. Guitar Source (1:54)
16. South of the Border (1:09)
17. Mexican Band (2:02)
18. Life Choices (2:25)
19. Shopping Time (2:05)
20. The Dark Side (3:18)
21. Things to Do in Town (1:27)
22. Young Lovers Kiss (1:30)
23. High Heels and Stockings (1:53)
24. Running Late (1:58)
25. Wavecrest (1:21)
26. Dreams of Santa Barbara (1:31)
27. Heading Out (1:46)
28. The Killer: Final Case (4:41)
29. Lovers Reunited (3:28)
30. The Sun Sets on Santa Barbara (2:00)
31. Santa Barbara (Reprise) (1:19)
Total Time: 76:37

 

[Stese]

Santa Barbara ist etwas für mich. Toll. ?

[Oliver79]

Notefornote Music bringen zum 20. April eine weitere Wiederauflage von Craig Safans Remo Williams: The Adventure Begins.

Zitat

 

Pre-orders now being accepted.  We expect CDs to arrive and ship the week of April 20.

Limited Edition of 600 CDs.  LIMITED TIME SPECIAL OFFER: With each purchase of Remo Williams you can add another CD or download release from our active titles at checkout to receive that item free (the system will recognize any currently available or preorder CD or download automatically).  Buying 2 copies or more?  You can pick out other CDs or downloads to pair with each copy purchased.  While supplies last on each release and this offer will only apply to customers purchasing this release at retail price ($16.98).  This is our thank you for three years of solid support from all the soundtrack fans, worldwide, who contribute to our success. (Note: If we run out of a specific title, we will reach out to you for a replacement to send out free). 

“It sounds so fresh and clean.  I don’t think I’ve heard it like that since it was originally recorded.  Really great quality… very exciting!” - Craig Safan, March 2020.

35th Anniversary Edition transferred directly from Craig Safan's 1/4" tapes.

Remo Williams: The Adventure Begins was produced by Dick Clark Productions and released in 1985 by Orion Pictures.  The movie stars Fred Ward, Joel Grey, Wilford Brimley, Kate Mulgrew and J.A. Preston.  The movie was adapted from a popular "Destroyer" series of books by Richard Sapir and Warren Murphy.  While the movie wasn't a blockbuster success, the movie did go on to spawn a loyal cult following and a TV movie / pilot (where Roddy McDowall plays Chiun).

After getting positive reviews for the quality sound of our Pumpkinhead LP release, we decided we wanted to tackle Remo Williams for vinyl and CD approaching it the same way - finding and using the best sources out there.  Previous releases used a DAT, which is fine for CDs but not always the best quality for LP.  After meeting with Craig Safan he told us he had tapes we could use for a quality transfer.   Johnny Davis transferred the 1/4" tapes Craig provided to us and James Nelson mastered the CD from the pristine 24/192 files.  As you can see from the quote above, Craig loved the quality of this transfer and we believe you will too. 

 

 

[scorefun]

vor 8 Stunden schrieb Oliver79:

Notefornote Music bringen zum 20. April eine weitere Wiederauflage von Craig Safans Remo Williams: The Adventure Begins.

Ist das so ein Dauerbrenner ? Habe nur den recht chilligen und gefälligen Main Title im Kopf

[Oliver79]

Ende April veröffentlichen Mute Records die von Mick Harvey komponierte Musik für die TV-Dokumentation Waves of Anzac aka Why Anzac with Sam Neill.

Zitat

Waves of ANZAC is represented by 13 tracks selected from the score for the ABC documentary on forgotten war stories and lives lost. The documentary is a personal history by the actor Sam Neill (Jurassic Park, The Piano) set against a contemporary increasingly divided political backdrop. ‘Why ANZAC? with Sam Neill’ (Dir. Kriv Stenders, 2015) is named for the Australian and New Zealand Army Corps (ANZAC) who served together in the Gallipoli Campaign, their first engagement in World War I and continued as a military unit until after WW2. The film is a look at this pivotal point in our shared history, and the impact it still has on a personal and on a geopolitical level. Harvey recently examined this period via the prism of a fictional soldier/poet for his collaboration with Christopher Richard Barker, The Fall and Rise of Edgar Bourchier and the Horrors of War.

The Journey is a four-part composition, recorded with The Letter String Quartet, in support of people seeking asylum who have found themselves in Australia’s offshore detention program. The piece was composed as a study of the hardships endured by the detainees on Nauru, Manus Island and Christmas Island before and during their internment and as an expression of hope for a humane outcome to their plight. 

Waves of ANZAC / The Journey was composed, arranged and produced by Mick Harvey and mastered by Loki Lockwood at Creepy Hollow. Full list of players below.

Mick Harvey is a founding member of The Birthday Party, Crime and the City Solution and The Bad Seeds and has collaborated extensively with PJ Harvey, Rowland S Howard and Anita Lane. His solo releases began in 1995 with the first in a series of Serge Gainsbourg interpretations and translations which he recently revived with two acclaimed releases in 2016 and 2017. Harvey has been scoring film and television since 1988’s ‘Ghosts… of the Civil Dead’ (Dir. John Hillcoat) and a collection of his soundtrack work – featuring music from ‘Chopper’ (Dir. Andrew Dominik, 2000), the award-winning soundtracks for ‘Australian Rules’ (Dir. Paul Goldman, 2002) and ‘Suburban Mayhem’ (Dir. Paul Goldman, 2006) and more – was released by Mute in 2006.

 

[Oliver79]

Mehr vintage Doctor Who von Dudley Simpson und Paddy Kingsland gibt es ab dem 1. Mai von Silva Screen.

 

Zitat

 

Composer Dudley Simpson’s first contribution to Doctor Who was his music for Planet of Giants (starring William Hartnell as the first Doctor) in 1964. By the end of the 1960s he was the programme’s “go to” composer, scoring a total of 294 episodes up until his last, The Horns of Nimon, in 1979.
Looking purely at the 1970s, encompassing the episodes starring Jon Pertwee as the third Doctor and Tom Baker as the fourth (seasons 7 to 17) there were 58 stories over 272 episodes, with Dudley scoring 51 (234 episodes). An amazing body of work; and that’s just Doctor Who, let alone Blake’s Seven, Moonbase 3, Target, Paul Temple, The Tomorrow People, The Brothers and many, many more. He started that period on Doctor Who using a very small orchestra, moved into working entirely at the BBC Radiophonic Workshop on EMS synthesisers for a year (assisted by Brian Hodgson), then added percussion, then back to a small band with Radiophonic synth overdubs, until his final few episodes where the synth became part of the band. It is a shame therefore that only two complete scores from this era survive. One is The Mind of Evil, one of those EMS scores from 1971; the other is the one is this release, The Sun Makers from 1977.

Dudley Simpson died on 4th November 2017, aged 95.

 

 

Zitat

"The Visitation was the fourth adventure in the nineteenth season of Doctor Who, and in late 1981 I went over to Shepherds Bush for a meeting with the director Peter Moffatt to view the edited tape of episode one. My Radiophonic Workshop colleague Dick Mills, who was providing electronic sound effects, was also present. We would decide whether each sequence would be better served by an emphasis on effects or music. It is easy to reach a state of affairs where the music and effects fight each other; by simplifying one or other at the outset saves later difficulties.

The score is quite sombre although there are elements of “yea verily” type music to set some scenes, which have a lighter texture. I played all the parts, using the synthesisers of the day, Oberheim, Roland and ARP, adding bass guitar plus drums and cymbals… not to mention my trusty Fender Mustang guitar.

It is curious listening to the music nearly 40 years later; it brings back so many memories of my times at the BBC and I feel privileged to have been allowed to contribute something to a programme that has been enjoyed by so many people down the years."

Paddy Kingsland

 

[Oliver79]

In der ersten Mai-Woche gibt es drei neue Alben von Dragon's Domain Records:

Zitat

 

Dragon’s Domain Records presents a new release of GHOST WARRIOR, to be distributed through buysoundtrax.com. GHOST WARRIOR features music composed by Richard Band for the 1984 science fiction/action film directed by J. Larry Carroll, written by Tim Curnen, starring Hiroshi Fujioka, John Calvin, Janet Julian, Charles Lampkin, Frank Schuller and Robert Kino.           

Released in 1984, GHOST WARRIOR tells the story of Yoshimitsu, a renowned samurai in 16th Century Japan, who is wounded in a swordfight while trying to protect his wife from brigands. Yoshimitsu falls into an icy lake where he is quickly frozen. 432 years later his corpse is discovered in an ice cave and turned over to scientists in Los Angeles, who are hired to conduct an autopsy of the body. The team is led by Dr. Richards, who decides to try and revive the ancient corpse instead. Remarkably, the procedure is successful but Yoshi escapes when disturbed by a greedy security guard who tries to steal and pawn his katana sword. Fighting his way from the suburbs to downtown L.A., Yoshimitsu for all his mastery of swordplay and perception of Japanese culture circa 1552 is unable to comprehend 20th Century America, and can only defend himself at swordpoint after he runs afoul of a local street gang and, ultimately, the LAPD, leading to a tragic conclusion.

The score for GHOST WARRIOR is a fusion of symphonic orchestral music, ethnic Japanese flutes and percussion, and an array of unusual percussion instruments invented and constructed by early 20th Century American composer Harry Partch (1901-1974). When Band got the assignment to score GHOST WARRIOR, he realized there was an opportunity to achieve something distinctive by combining ethnic Japanese instruments with the unique and versatile instruments of Partch. Band did some research on Partch’s instruments at the UCLA library. His first challenge was in figuring out how to communicate to musicians playing these instruments who are used to reading normal sheet music. At the same time, Band discovered that the top percussion player in Los Angeles, Emil Richards, had been Partch’s main disciple and had inherited all of Partch’s instruments. The Harry Partch percussion instruments were recorded in Hollywood at Group IV, a recording studio that no longer exists. The orchestral portions of the score were later performed by the Royal Philharmonic Orchestra, conducted by Shirley Walker, who may have been the first woman to conduct the Royal Philharmonic for a film session. The end result is an expansive orchestral score that merges extremely unique percussive sounds with a richly symphonic melody structure accentuated by ethnic Japanese instruments.

Richard Band was born in Los Angeles on December 28, 1953. He is the son of film producer-director-writer Albert Band (THE RED BADGE OF COURAGE – screen adaptation), brother to producer-distributor Charles Band and uncle to young rock star Alex Band of the rock group ‘The Calling’. Shortly after his brother Charles had formed his first movie company, Richard decided to take a break from music and began to work as an assistant director on some of his films. He then went from assistant director to production manager, to associate producer and finally producer on over 13 films. Richard has since gone on to score over 75 feature films and many television productions including multiple episodes of STARGATE SG-1, WALKER: TEXAS RANGER and Disney's SING ME A STORY series.

Richard has composed the music for more than 10 interactive computer/video games over the years and has had many soundtracks that have been released of his film works. Richard has also scored many documentaries including the award-winning series’ MOST DECORATED, BRUTE FORCE and WEAPONS OF WAR and has also contributed much music to other series’ like THE REAL WEST, CIVIL WAR JOURNALS and BIOGRAPHIES. His experience over the years has brought him to record over 22 film scores with internationally renowned orchestras such as THE ROYAL PHILHARMONIC ORCHESTRA, THE LONDON SYMPHONY and THE ROME PHILHARMONIC. He has also had his music recorded in Prague, Romania, Croatia and Munich. In more recent years, Richard has also enjoyed scoring a variety of family and comedy films for Viacom and Paramount Pictures as well as hundreds of animated vignettes for the WB kid's network all of which were scored with orchestra. His musical talents can also be heard on several amusement park rides including ALIENS - THE RIDE as well as several Vegas venues. Among the many interactive games Richard has scored the music for STAR TREK, WATERWORLD, CASPER, STONEKEEP, DECENT UNDER MOUNTAIN, CLAYFIGHTER and INVICTUS: THE SHADOW OF OLYMPUS.

Dragon’s Domain Records is excited to bring the soundtrack to GHOST WARRIOR back to the marketplace with the music freshly remixed by Matt LaPoint from the score’s original 8-track masters, which the composer was only recently able to find, digitally remastered by James Nelson at Digital Outland, including liner notes written by author Randall Larson, with the participation of the composer.

GHOST WARRIOR is a limited edition release of 500 units. GHOST WARRIOR is expected to begin shipping the week of May 4th, 2020 and can be ordered at www.buysoundtrax.com . The first 100 copies ordered trough the buysoundtrax.com website will be autographed by the composer at no extra charge.

 

Zitat

 

Dragon’s Domain Records, to be distributed through buysoundtrax.com presents the original motion picture soundtrack to THE HAUNTING OF MORELLA, featuring music composed by Fredric Ensign Teetsel, with additional themes by Chuck Cirino, for the 1990 horror film produced by Roger Corman, directed by Jim Wynorski, written by R.J. Robertson, based on a story by Edgar Allan Poe, starring Nicole Eggert, David McCallum, Christopher Halsted, Lana Clarkson, Maria Ford, Gail Thackray, Clement von Franckenstein and Deborah Dutch.

THE HAUNTING OF MORELLA is very loosely based on Edgar Allan Poe’s short story “Morella,” written in 1835 and revised in 1839. In Poe’s story, Morella is a woman who dies in childbirth but her spirit re-inhabits the body of her young daughter only to have the child die young, returning Morella’s spirit into death along with her. Corman filmed a short version of the story as part of his 1962 anthology film TALES OF TERROR. Scripted by Richard Matheson, this loosely adapted version of “Morella” gave the daughter a name: Lorena. THE HAUNTING OF MORELLA modified the story further, retaining the daughter’s name Lorena, but setting the story in the midst of Colonial America as Morella is crucified for witchcraft, leaving her infant daughter in the care of her widower. Resurrected through blood sacrifices offered by her daughter’s governess, Morella is able to take over Lorena’s body and use it to achieve a physical resurrection. THE HAUNTING OF MORELLA harkens back to Corman’s acclaimed Edgar Allan Poe films—THE FALL OF THE HOUSE OF USHER, THE PIT AND THE PENDULUM, THE TOMB OF LIGEIA, THE HAUNTED PALACE, and others from the 1960s.

Wynorski’s regular composer, Chuck Cirino, was not able to work on this film so Concorde hired a first-time film composer named Fredric Teetsel, who was able to provide MORELLA with a symphonic orchestral score. What became the film’s main theme was a simple melody of Cirino’s that Wynorski was especially fond of, and has insisted on using in several of his films. In addition to Cirino’s themes, Teetsel composed several themes or motifs of his own, but even these were rooted in Cirino’s thematic architecture. Teetsel’s connections as an arranger and composer for performing orchestras in Arizona, including the state’s major symphony orchestra, allowed the film to have a period-supporting orchestral score without exceeding its budget.

Fredric Teetsel was born and raised in Phoenix, Arizona, and has been involved with a number of orchestras there. A graduate of the Groves School of Music, Teetsel found work orchestrating and conducting; he was Composer in Residence for the Scottsdale Symphony Orchestra in Arizona from 1983-1986 and 1986-1989 found him an in-house composer producing commercial jingles for local television and radio. He moved back to Los Angeles in 1989 and began visiting movie studios in the hopes of becoming involved in film scoring. One of them was Corman’s Concorde Pictures and THE HAUNTING OF MORELLA would be his first film score. His ongoing relationship with four professional orchestras in Arizona has supplied him with opportunities for commissions for pop orchestra arrangements and original compositions.

Chuck Cirino has worked as a producer, director, filmmaker, videographer, animator, special effects technician, editor, and composer. He has scored films for Roger Corman, directed music videos for bands like Earth, Wind & Fire and The Dickies’ KILLER KLOWNS FROM OUTER SPACE, and has recorded over 40 music soundtracks for feature films including SORCERESS, HARD TO DIE, TRANSYLVANIA TWIST, and many others. Most recently, he has scored A DOGGONE CHRISTMAS, A DOGGONE HOLLYWOOD and A DOGGONE ADVENTURE. He executive produces and directs WEIRD TV, a television series featuring weird Americans, bizarre news, unbelievable events and outlandish skits. Chuck’s credits also include executive producer and director of the Sci Fi Channel projects, WORLDWIDE WEIRD and WARPED IN SPACE, and BABERELLAS, an independent Sci Fi feature distributed by Xenon Pictures.

Dragon’s Domain Records is excited to bring THE HAUNTING OF MORELLA to compact disc for the first time, mastered by James Nelson at Digital Outland with exclusive liner notes by author Randall Larson, with the participation of the composers.

THE HAUNTING OF MORELLA is a limited edition release of 500 units. As a special offer, the first 50 people to order the album from the record label’s website will have their copy autographed by the composers at no additional charge.

 

Zitat

 

Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE DAVID SPEAR COLLECTION, VOLUME 1 , featuring music composed and orchestrated by David Spear for three projects from his filmography. This album collects music from two historical documentaries, one historical docudrama, and an assortment of intimate duet performances intended to offer a musical portrait of composer David Spear

THE COURAGE TO CARE is a 30-minute Holocaust documentary made in 1985; the film was nominated for an Oscar for best documentary short subject. The film was directed and produced Robert H. Gardner, with Richard Kaplan serving as an associate producer in the field shooting the testimonies; it was he who brought Spear into the production as composer, having known him from previous projects. The film, through interviews and location filming, recounts how many Jews were able to survive because they were rescued by non-Jewish people who risked their own lives to put them in their basements or in their closets or hide them from the Gestapo or the Nazis. Spear wrote the score for a quartet (viola, cello, clarinet, and piano), with Spear playing the piano himself.

LINCOLN AND THE WAR WITHIN was a PBS Civil War dramatization focusing on the first few weeks of Lincoln’s presidency, which were crucial for the direction the country would take. Lincoln had to bridge the gap between the North and South while navigating the conflict that he had with William H. Seward, whom he had appointed his Secretary of State despite their longtime rivalry. Spear scored the film to be performed by a nonet—nine musicians, playing flute, oboe, clarinet, guitar, piano, and a string quartet (two violins, a viola, and a cello).

THE TRIUMPH OF MEMORY was a follow-up to THE COURAGE TO CARE, reuniting Spear with director Robert H. Gardner and associate producer Richard Kaplan. Spear used a similar scoring approach but replaced the viola with a violin for his quartet on this project. In addition, he added a bit of percussion into the mix to give the music a sense of tension, like a ticking clock, as the stories are told and difficult memories flow forth. The main approach to scoring the montages between interviews was similar to that of the previous film, but Spear enhanced his palette to accommodate a slightly different tone, and to convey a little more of a folkish Eastern European sound and melody.

The album concludes with a quintet of Spear’s original pieces performed by the composer on the piano accompanied by Eugene Friesen on cello.

David Spear began his career orchestrating many film scores for Elmer Bernstein including AIRPLANE, ANIMAL HOUSE, HEAVY METAL and GHOSTBUSTERS. After his Broadway debut as Music Director of MERLIN, THE MAGICAL MUSICAL, Spear wrote scores for three Academy Award nominated films: RAINBOW WAR, BALLET ROBOTIQUE, and THE COURAGE TO CARE. He composed the music for the Emmy Award winning National Geographic documentary, SURVIVING EVEREST. One of his first major scores was for the 1981 vampire thriller FEAR NO EVIL, composed in collaboration with the film’s writer/director Frank LaLoggia. He led the Indianapolis Symphony for the 2008 premiere of THE LANGSTON HUGHES PROJECT featuring Ice-T and the Ron McCurdy Quartet. A dedicated educator, Spear served as faculty at Berklee College of Music (1991-1995), USC Thornton School of Music (1995-2006), NYU (2009-2013), and at Portland State as 2017 Artist-in-Residence. His work in academia and industry thrives on decades of creative collaboration with many notable artists, directors and scholars.

Dragon’s Domain Records presents THE DAVID SPEAR COLLECTION, VOLUME 1, featuring music composed by David Spear for THE COURAGE TO CARE, LINCOLN AND THE WAR WITHIN and THE TRIUMPH OF MEMORY for the very first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by noted author Randall Larson, with the participation of the composer.

THE DAVID SPEAR COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE DAVID SPEAR COLLECTION, VOLUME 1 is expected to begin shipping the week of May 4th, 2020 and can be ordered at www.buysoundtrax.com . Composer David Spear will sign the first 100 copies of THE DAVID SPEAR COLLECTION, VOLUME 1 sold through the website.

 

 

[scorefun]

Bei der ersten Minute von GHOST WARRIOR denke ich irgendwie unmittelbar an THE CHALLENGE von Goldsmith ...

[TheRealNeo]

Von dem habe ich noch die Intrada-CD, die schien mir klanglich immer auszureichen.

[Oliver79]

Anfang Juni kommt von Omnivore Recordings eine Neuauflage von Curtis Mayfields Score für die Gaunerkomödie Let's Do It Again (1975) von und mit Sidney Poitier sowie Bill Cosby. Neben dem Albumprogramm enthält diese Edition noch drei Single-Cuts der Staple Singers als Bonus-Tracks.

[Oliver79]

Nach der Coronda-bedingten Zwangspause haben Music Box Records Ende letzter Woche wieder zwei CDs veröffentlicht:

 

Zitat

 

World Premiere CD Release. Remastered edition.
12-page CD booklet with French and English liner notes by Gérard Dastugue.

In collaboration with BMG and Pathé Films, Music Box Records continues their collaboration with Philippe Sarde and proudly presents here two previously unreleased scores written a few years apart for two films that achieved public success at the time they came out.

Le Fils préféré (The Favourite Son, 1994) is Nicole Garcia’s second film as a director, four years after her first feature film Un week-end sur deux. The film tells the story of Jean-Paul Mantegna (Gérard Lanvin) who, facing great financial difficulties, asks his father Raphaël (Roberto Herlitzka) for money, as well as his two brothers (Bernard Giraudeau and Jean-Marc Barr), but none of them can help him. The family is torn by disputes and tragic events until Jean-Paul discovers the secret of his own destiny. Recorded at Abbey Road studios, the score is written for violas, cellos and double basses. Philippe Sarde collaborated here with the legendary Lee Konitz, a saxophonist whose fluid, almost sensual sound developed along with the ‘cool jazz’ trend.

With Mademoiselle (2001), Philippe Lioret, a former sound engineer for cinema directed his third feature film, written and shot for Sandrine Bonnaire. She plays Claire, a married woman with two children, who meets Pierre (Jacques Gamblin), a comedian and improviser who gets her to play his game. The score was recorded with the London Symphony Orchestra at the Abbey Road studios and at the Guillaume Tell studios for a special jazz session with an incredible trio led by Maurice Vander at the piano.

This album presents an intimate and sensitive aspect of Philippe Sarde’s music between film noir gloominess and romantic glow and will no doubt fall under the spell of this elegant Ravel-style simplicity.

Remastered from the original recording sessions, the program has been assembled, produced and supervised by Philippe Sarde and Dominique Spagnolo. The CD comes with a 12-page booklet with liner notes by Gérard Dastugue, discussing the films and the scores including new comments by Philippe Sarde on his collaboration with the two directors. The release is limited to 500 units.

 

 

Zitat

 

World Premiere CD Release. Remastered edition.
8-page CD booklet with French and English liner notes by Nicolas Magenham.

In collaboration with Larghetto Music, Music Box Records is pleased to present the premiere CD release of two Paul Misraki scores: Les vécés étaient fermés de l'intérieur (directed by Patrice Leconte) and Le Chasseur de chez Maxim’s (directed by Claude Vital).

With its nonsensical spirit reminiscent of British humour, Patrice Leconte’s first feature film, Les vécés étaient fermés de l’intérieur, tells the story of police chief Pichard who investigates the death of a toilet attendant. Such is the synopsis of this cult film inspired by the adventures of Bougret and Charolles, two characters from the French comic book series Rubrique-à-brac. The script was co-written by Leconte and the author of said series, Marcel Gottlieb aka Gotlib. Paul Misraki’s music pays tribute to the refined codes of Hollywood film noir (the recurring use of cellos, spooky crescendo strings tremolos, the solo saxophone conveying a feeling of dangerous and toxic seduction…) with some offbeat and elegant style representing his lighter side.

For Le Chasseur de chez Maxim’s (Maxim's Porter), Paul Misraki composed a rejoicing collection of light dance pieces typical of the interwar period, in which the film is set. From the tango to the blues, to the fox-trot and the Charleston, the wide diversity of styles presented here is characteristic of Misraki’s work.

This present edition features the previously unreleased and complete score to Les vécés étaient fermés de l'intérieur and the remastered original LP program for Le Chasseur de chez Maxim’s (previously issued by Pathé Marconi EMI). The 8-page booklet features an essay by Nicolas Magenham discussing both films and scores. The release is limited to 300 units.

 

 

[magnum-p.i.]

"Limited Edition" von 300 CDs??? Meine Güte, daß klingt so, als ob die Soundtrack-Labels aus den letzten Löchern pfeifen.

[Stefan Schlegel]

vor 26 Minuten schrieb magnum-p.i.:

"Limited Edition" von 300 CDs??? Meine Güte, daß klingt so, als ob die Soundtrack-Labels aus den letzten Löchern pfeifen.

Eine 300er-Edition ist in diesem Bereich schon seit bald 5 Jahren völlig normal geworden. Mehr wird beim Namen Misraki auch nicht gehen - das weiß eigentlich jeder.
Die Digitmovies, Kronos oder Saimel-CDs der letzten paar Jahre sind fast immer nur auf 300 Stück limitiert gewesen. Das muß schon ein Renner sein, wenn man noch eine 500er-Auflage im europäischen Bereich macht. Oder dann wie bei den auf "sichere Bank" gehenden Italo-Hit-Reissues von Digit seit rund zwei Jahrfen die Aufteilung auf 300 Stück CD und 300 Stück Vinyl.
Beim Sarde oben halte ich die 500 für eindeutig zu hoch gegriffen. Der wird in den nächsten Wochen mit Sicherheit nicht ausverkauft sein. 500 Exemplare von rein französischen Titeln loszubekommen, hinter denen kein Kult oder internationales Interesse steckt,  ist inzwischen äußerst schwer geworden.

Es gibt sogar beim russischen Label Keep Moving Records inzwischen die Limitierung auf nur noch 100 Stück.
https://www.discogs.com/de/George-Kallis-Lev-Yashin-The-Dream-Goalkeeper-Original-Motion-Picture-Soundtrack/release/15006514

[Mike Rumpf]

Was sagst Du denn zu den Sarde-Musiken, Stefan? Fand die Ausschnitte zumindest  recht schön.

[Stefan Schlegel]

Selbstverständlich gibt es für die neue Sarde-CD eine ganz klare Empfehlung von mir, da beide Musiken bislang ja überhaupt nicht auf Tonträger erhältlich waren. Das ist eine wirklich sehr erfreuliche Veröffentlichung und Ich werde mir die Scheibe auf alle Fälle zulegen, da vor allem LE FILS PRÉFERÉ ja sehr reizvoll ganz typischen Sarde-Stil auf hohem Niveau bietet.
Nur MADEMOISELLE ist übrigens in den deutschen Kinos gelaufen und hierzulande halbwegs bekannt geworden, LE FILS PRÉFERÉ dagegen war zwar kurz auf der Berlinale 1995 zu sehen und ist dann später wohl mal im Fernsehen aufgetaucht.
Von LE FILS PRÉFERÉ habe ich schon länger zumindest knapp 10 Minuten von einem Masterband hier und das ist sehr hörenswert. Vor allem das in sich kreisende schöne Liebesthema, das in Track 3 auf der Music Box-CD in "Jean-Paul et Anna Maria" erklingt, hat absoluten Ohrwurmcharakter. Sarde hat das ursprünglich schon an 1975 für Georges Lautner´s PAS DE PROBLÈME komponiert gehabt (zu hören auf der Sarde/Lautner-CD von Universal), aber die Instrumentierung für LE FILS PRÉFERÉ dann nochmals etwas verändert:

 

[TheRealNeo]

https://mobile.twitter.com/VareseSarabande/status/1257359382779777024