Perseverance

Another Coup - Welcome Gloria Cheng! We are excited to announce Grammy & Emmy award winning pianist Gloria Cheng, who will be joining us in this endeavor. https://www.gloriachengpiano.com/ Her relationship with James Horner begun as early as 1986, performing on the An American Tail score, followed by Patriot Games, Clear and Present Danger, and Troy, to name just a few. Apart from being widely recognized as one of the most adventurous interpreters of contemporary music around, Gloria is one of the most sought-after session pianist in Hollywood. She has worked with Don Davis, Michael Giacchino, Randy Newman, Maurice Jarre, Alexandre Desplat and she is John William's go-to-performer on the piano and has worked with him on many scores. And now she is performing on our recordings. S' marvelous, s' wonderful!!!

Just to pick up on this thread after not posting on it for a while, I'd like to inform the members on this esteemed board that we have started a Kickstarter campaign to fund this ambitious project, and your support will be greatly appreciated, nay, NEEDED, to make this a reality. Please click on the link below to check out the campaign. <https://www.kickstarter.com/projects/robes/james-horners-the-hand-and-the-dresser-complete-re-recordings>

To Roger: Nothing could be further from the truth. I did want to release Ice Pirates, but when I was informed by Bruce Broughton that someone else was working on it, I stopped trying to get it released. And NO ONE had a "heart to heart" talk with me. That is simply not true. Ands when you get a pink slip, which, essentially, is teh equivalent of a license, such as I got from the Bernstein estate, you don't question that pink slip. So, Roger, get off your high horse and get real.

I already posted that I won't do those gray area releases anymore. Persey has been growing steadily ever since its initiation 10 years ago, and this second half of the year we have 24 releases coming up that we have signed contracts for, and we are working on yet more to come. So, we don't want to risk the chance of being shut down by anyone by acting amateurish.

Guys, I have to weigh in here. I am sick of having to explain and defend my actions, so here they are; straight from the horse's mouth. Once and for all. Slipstream is NOT a bootleg. I had a licensing deal with the Elmer Bernstein estate that allowed me to manufacture and sell the CD. Unfortunately, as it turned out, they claimed to own the rights to the score's masters in addition to the publishing which turned out not to be true. I had done my due diligence and gotten a license. If someone sells you a car you don't go around asking other people if they own it instead, do you? Bootlegs: We didn't do Deadly Blessing; that wasn't ours. I wish MV would get his facts straight before accusing me of illegal activities. That is the second time he did that. If he does it again he might find himself in court for libel. I'm serious. Prophecy I and II: I admit: This one is a gray area; While David Williams and I got the OK from the producer to do the albums, not even he could tell us who owned the masters. The franchise had changed ownership so many times that no one knew who owned the rights. We figured we'd go ahead anyway. Is this something I would still do today? Probably not. Craig Safan Promo: I did this as a favor for a friend. We are not selling these and are actually losing money on them. It cost us money to produce them, plus we have to give Craig his royalty on top of that. Bootleggers are in it for the money; big money; bootleggers don't pay royalties. I pay royalties on ALL my releases, commercial or promo. Chinatown and Edge of Darkness: These are legitimate commercial releases. I have licenses for both. The reason why they don't say the film title on the cover is that the production companies (Paramount and GK Films, respectively) didn't want the albums to be associated with the films in question. So, we had to come up with a different title. In the case of Edge of Darkness, we weren't even allowed to reference the movie at all in the package. In both cases the composer came up with the alternate title. Rain Man: Hans didn't actually want to stop this release (I don't know where you got that information); he merely wasn't interested in releasing the score. We already had a deal with MGM and put a lot of money in the project, so we decided to go ahead with it. Again, I probably wouldn't do this today. Expanded Re-issues: The reason why Witches of Eastwick wasn't expanded was that we thought the music on the original WB album was already the best representation of the score. If you know the rest of the music you'll find that it is the same thing over and over again. That's why John Williams released it that way originally. We don't think there needs to be every single note from a score on a CD for a good listening experience, but that's just our opinion. If you don't agree, don't buy the album. Nobody is forcing you to. Furthermore, whereas the album is owned by one entity (WEA), the additional music is controlled by another one (Warner Bros Films); to license anything additional would have cost us considerably more money, and we wouldn't have been able to pass a fair price on to you. Also, more legalities would be involved. Newsletter Emails: I am sorry you think they look amateurish. You are, however, the first ones to complain about this. No one else has so far, at least not to me. We are in the process of re-designing our Web site, however, and we hope you'll like the outcome. In closing: I am not a bootlegger or someone who engages in illegal business practices because it makes my life easier. I wish people would stop saying I am. Robin Esterhammer <Robin@PerseveranceRecords.com>