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About Trumpeteer

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    Tucson, Arizona, USA

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  1. You should go back and learn about the scores you don't know. In this journey, it has helped me understand the evolution as a composer and how JW worked to find his voice. To be honest, I might have done the same thing you are doing if someone else was doing this podcast, but I would have obeyed the host and started at the beginning!
  2. Hi, everyone! I know many of you have been awaiting the arrival of the "Golden Age" of my podcast, and that moment has finally arrived! The "Jaws" episode (Episode 41) premiered earlier today. Listen to the episode here. I'm joined by music teacher Jeff Owens, who provided some very wonderful insight into why the main theme is so scary and intense. Though we don't go through every minute of the score, we do talk about some highlights that make this a masterclass in film scoring. I have a bigger appreciation for this score, which I did not think was possible. Enjoy!
  3. Thanks for recommending Yavar for the Images episode. He had a lot of wonderful insights! About 80 more to go!
  4. That would be a big ambition, and if more than one person is involved, it might evolve into virtual boxing matches. Just look at how hard it is to officially say how long John Williams served in the Air Force.
  5. So, to get this thread back on topic, I want to thank @airmanjerm for the clarifications. And thanks to all those who are new to the podcast. I urge you to start at the beginning and catch up with us on this journey. You will hear music you've never heard before and learn new things about John Williams!
  6. The newest episode of my podcast features the score to 1971's "Jane Eyre," the third and final time Delbert Mann and John Williams would work together. This episode features fellow JWFan member @Yavar Moradi as he talks about why he counts "Jane Eyre" as his favorite John Williams score. We also have a good discussion about whether to count the main theme as a love theme or not, and the music it inspired about 30 years later. Hope you enjoy!
  7. I just finished watching this film for an upcoming episode of my podcast. It is not a great film by any means, but that six minutes of music near the end that everyone has talked about is worth sitting through the movie. I am co-hosting the episode with Townerfan's brother Gianmaria. We are going to have a fun discussion. And thanks Mauricio for the background info on the film!
  8. Just before I had read that comment a few days ago, I had finished watching "Valley of the Dolls" and was very excited to record that episode. After reading your comment, my feelings about doing that episode -- and the podcast -- hadn't changed. Your apology is accepted but I just wanted you to know that I didn't allow it to affect me negatively -- unlike the way Bernard Herrmann's comments about Symphony No. 1 affected John Williams.
  9. I don't mind if you don't like the podcast, but please let me know what errors you have heard. I might be using a source of information that is not as reliable as it seems, or I might have connected dots that were not meant to be connected. It might help improve the show, and you might like what you hear. And, if you are a "hardcore Williams researcher," perhaps you can guide me to information in places I do not know. You can reply here or send me an email to jeffswim@aol.com.
  10. You bring up an interesting point. I wasn't mentioning the next film because I wanted to "tease" the next episode. But, I can start doing that in upcoming episodes. Thanks for listening! "A Guide for the Married Man" posted today. Next week is "Fitzwilly." Better late than never.
  11. Yes, they are all the same. It's disappointing, but understandable from a thematic standpoint. I think each of the three main title performances in the original trilogy signified the mood of Luke's adventures -- and the film in general -- but with the prequel trilogy did not have Luke in them, so no point in making many changes to the performance. It's also sad that the new trilogy didn't try to do different things to "Force Awakens" and "Last Jedi," since Luke appeared in both of them. Welcome to the forum @TheMagicFlute, and I hope you enjoy your discovery of the music of John Williams!
  12. I suppose my post was specifically to answer WilliamsGirl's repeated questions about JW's involvement in the score writing. There are some musical moments that are not on the original soundtrack, but I don't think they are so "OMG" that they need to appear on a limited-edition CD.
  13. I have just watched this film in preparation for an upcoming episode of my podcast and after just a bit of research, all the music that is not part of the five original songs was composed by John Williams. He wrote some fairly good cues, some of which uses Previn's song melodies but is flavored with the Williams touch. The fact that he didn't really have to lean heavily on song melodies for his underscore might have helped him nab his first Oscar nomination. The episode highlighting "Valley of the Dolls" on my podcast will be ready for listening on April 17.
  14. Some of those very early scores have so little music in them. Two of them could be combined for one album, I suppose. I would like to see a "Daddy-O/Because They're Young" album, since they are both about young adults.
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