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Here is a youtube link to the opening track of the album the Love Theme from JANE EYRE. You can hear the whole album on Youtube

youtube]YouTube video URL here[/youtube] Pianist Dan Redfeld performs an excerpt from the theme to "The Rocketeer" for an upcoming compilation of James Horner themes arranged for solo piano. Available late 2016 from BSX Records.

Never do post at 1:00am Thanks for pointing his out.

Later this year BSX RECORDS will be releasing a new album from Artist Dan Redfeld which will feature a new solo piano arrangement of James Horner's theme for STAR TREK II: THE WRATH OF KHAN. This is video is from the recording session for this piece that was just done and we'd just like to share it with you Enjoy Ford A. Thaxton

Not the point of the thread, Any comment on the video or the music?

Stefancos Has a lot of issues. The other reason is quite simple, it gets BURIED in that thread, this was just to call attention to it because it's a pretty cool video by a good friend.

Here is a rather cool solo piano version of Rey's Theme from STAR WARS-THE FORCE AWAKENS by the artist known as JARTISTO.

A music video of the end title theme from “10 Cloverfield Lane" composed and conducted by Bear McCreary. Pretty Awesome IMHO. https://www.youtube.com/watch?v=ZEBAwEcgtw8&feature=share

http://itunes.apple.com/album/id1034563242?ls=1&app=itunes (Check your local ITUNES link if outside of the USA) This is pretty damned good album with some very good solo arrangements of the classic themes of Ennio Morricone by the Korean Artist Jartisto. It's worth checking out.

In Memory of Harper Lee's passing here is a piano suite from Elmer Bernstein's score for TO KILL A MOCKINGBIRD performed by Dan Redfeld recorded for BSX RECORDS. Harper Lee 1926-2016 Rest In Peacehttps://www.youtube.com/watch?v=XX-KXHdbOoA

From the FACEBOOK PAGE OF Dan Foliart https://www.facebook.com/dan.foliart?fref=nf It is with deep sadness that I report the passing of my dear friend, Ray Colcord. To say that Ray was courageous, would be a gross understatement, as his valiant battle with pancreatic cancer over four years, not only defied all odds, it redefined to all who knew him what the words courage and determination truly mean. During most of those four years we were running companions, with Ray, even in his weakened condition, always the winner as he truly is today. Participating in several LA marathons was always one of his most prized accomplishments. It was Ray who insisted that I follow in his footsteps as President of the Society of Composers & Lyricists. He served our membership with distinction, calling upon his wit, intelligence and knowledge of his chosen profession to elevate the organization to new heights and prestige within the large community here and abroad. As a composer, his work on such classic series as Boy Meets World, The Facts of Life, My Two Dads, 227, Big Brother2 &3, Family Affair, Lost at Home, Dinosaurs, Promised Land, Silver Spoons, Hiller and Diller, Touched by an Angel and Where I Live among countless others set the bar high for all of us working in the profession. His music for those series continues to play around the world. He was particularly proud of his work on the movie, Heartwood, where he was able to employ Elmer Bernstein sensibilities with his own beautiful gift for melody and textures. It was no coincidence that he was able to convince Elmer to take a position on the ASCAP board, of which Ray was a proud member for several decades. Ray’s passion for composers’ rights was unparalleled and his tireless work to try to achieve equality in the greater entertainment community with collective bargaining was admired by all of his peers. His tenure as Governor of the Television Academy yielded among many things, the recognition of Earle Hagen and a night celebrating the art of the television theme song. Other highlights from his community service included serving on the board of the Film Music Society and the Film Preservation Society, as well as memberships in Musicians Union, Local 47 and SAG. In his early career Ray had the opportunity to tour with the renowned Columbus Boys Choir and later with hit recording artist, Roy Head as an accomplished keyboardist. This led to a coveted position of A&R at Columbia Records where he performed on the seminal album, American Pie with Don Maclean and was the first to hear Aerosmith and convince Clive Davis to sign them. He left Columbia to produce their second album and then went on tour with Lou Reed as a keyboard player. His diverse career went on to include time as music director and keyboardist for an Evening at the Improv and the Groundlings, a celebrated Los Angeles comedy group. Ray achieved what all of us dream of—going out on top. Through his close friend and champion, Michael Jacobs, Ray was still writing music for Michael’s hit series, Girl Meets World up until his final days. He leaves his loving wife, Maddy and talented son, Alex, who lived through the good and bad times, but never faltered in their devotion to this creative and passionate soul. I am better for having known Ray Colcord and cherish these last few years of watching this heroic figure that was the exemplary role model for all who knew him. Dan Foliart Works at Songwriter · 207 Mutual Friends

The title went out of print very quickly and Lee Holdridge wanted it back in print

THE BEASTMASTER http://buysoundtrax.stores.yahoo.net/beorsobyleeh.html SRP: $19.95 FIRST 100 Copies will be autographed by composer LEE HOLDRIDGE LISTEN TO A SOUND CLIP FROM the score for THE BEASTMASTER http://buysound.webjedi.net/Beastmaster_DDR/01-1%20The%20Legend%20of%20Dar%20.mp3 THE BEASTMASTER is a limited edition release of 1000 units. Starts Shipping the week of Feb 22 ,2016 SPECIAL OFFER UNTIL FEB 22, 2015: Buy THE LIGHTHORSEMEN and THE BEASTMASTER together at Buysoundtrax.com and get a 10% Discount on these titles!!!! Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of THE BEASTMASTER, the 1982 fantasy classic directed by Don Coscarelli (PHANTASM, BUBBA HO-TEP, JOHN DIES AT THE END), written by Coscarelli and Paul Pepperman, starring Marc Singer (SOMETHING FOR JOEY, V), Tanya Roberts (CHARLIE’S ANGELS, SHEENA), John Amos (GOOD TIMES, ROOTS, COMING TO AMERICA), Joshua Milrad and Rip Torn (KING OF KINGS, EXTREME PREJUDICE, MEN IN BLACK) as Maax, featuring music composed and conducted by Lee Holdridge (JONATHAN LIVINGSTON SEAGULL, SPLASH, BEAUTY AND THE BEAST). Released in 1982 at the beginning of a renaissance of fantasy films that include HAWK THE SLAYER, DRAGONSLAYER, EXCALIBUR and CONAN THE BARBARIAN, THE BEASTMASTER was loosely based on a 1959 Andre Norton science fiction novel, THE BEAST MASTER, with a visual nod borrowed more from classic 1960s peplum and the heroic fantasies of Ray Harryhausen films. THE BEASTMASTER tells the story of Dar, a valiant warrior who can telepathically communicate with animals. Dar (Singer) is a stolen son of royalty, kidnapped from the queen’s womb by a witch in service to Maax (Torn), an evil sorcerer. Dar is saved from sacrifice by a kind villager, who raises him and teaches the young prince how to fight and utilize his uncanny ability to commune with animals. Facing life alone after his village and its people are destroyed by Jun warriors in league with Maax, Dar rescues a slave girl (Roberts) and pairs up with boy prince Taj and former King’s guard Seth (John Amos), along with his animal companions, to fight against Maax. Released in the US in late August 1982 (three months after CONAN), THE BEASTMASTER managed to overcome a lukewarm box office performance with a strong cult following that generated two sequel movies and a Canadian television series that aired 66 episodes over three seasons in 1999-2002. THE BEASTMASTER was Coscarelli’s fourth film, and his first studio-backed picture after making three indie movies. The third of those was the iconic horror classic PHANTASM, with first put him on the map as a director to watch. In writing the script for THE BEASTMASTER, Coscarelli and Pepperman would listen to famous epic scores from the 1940s and 1950s by composers like Max Steiner and Dimitri Tiomkin. When they began to edit the film, they started tracking in music from these composers. Coscarelli knew of Holdridge’s film music and had been impressed by Holdridge’s violin concerto and, was very impressed with it. With THE BEASTMASTER, Holdridge composed a large-form symphonic score, recorded in Rome, that complemented the film’s sensitive characterization of Dar as well as providing an anthemic main theme for the character’s power and heroism. The main theme is a broad, adventurous motif for full orchestra which suitably propels the film along. In addition, Holdridge provided a pleasant flute love theme over plucked harp, wind chimes and finger-cymbals; a low tympani motif for the evil, pagan priest; and a synthesizer motif used to reflect the sorcery and power of the Beastmaster. THE BEASTMASTER remains one of the great fantasy film scores of the 1980s and continues to age well. Lee Holdridge was born in Port-au-Prince, Haiti in 1944. He spent his early years in Costa Rica, beginning music studies on the violin at the age of ten with Hugo Mariani, then the conductor of the National Symphony Orchestra of Costa Rica. Later, Holdridge moved to New York to continue his music studies and begin his professional career as a composer. Holdridge’s successes in New York came to the attention of Neil Diamond who brought Holdridge to Los Angeles to write arrangements for his forthcoming albums. A string of Gold and Platinum hits followed, which led to Diamond and Holdridge collaborating on the film score for JONATHAN LIVINGSTON SEAGULL. Since that time, Holdridge has scored numerous film such as SPLASH, BIG BUSINESS, MR. MOM, MICKI & MAUDE, 16 DAYS OF GLORY, SYLVESTER, A TIGER’S TALE, EL PUEBLO DEL SOL, OLD GRINGO, PASTIME and BROTHERS AT WAR. His television work include MOONLIGHTING, BEAUTY AND THE BEAST, the complete eight hour remake of EAST OF EDEN, THE TENTH MAN, DREAMER OF OZ, Hallmark Hall Of Fame’s ONE AGAINST THE WIND and THE STORY LADY. Lee also began a very successful collaboration with Moriah Films, the film division of the Simon Wiesenthal Center, with the Academy Award winning documentary feature film THE LONG WAY HOME. In addition to his film career, Mr. Holdridge has had an extensive repertoire of concert works performed and recorded. He has also worked with many major recording artists having written, arranged and conducted for Placido Domingo, Barbra Streisand, Brian May of Queen, Stevie Wonder, Neil Diamond, John Denver, Neil Sedaka, Daniel Rodriguez, Al Jarreau, Dionne Warwick, Diana Ross, Natalie Cole, Jane Oliver and many others. Previously released on compact disc by Quartet Records in 2013 as a limited edition release that quickly sold out, Dragon’s Domain Records is excited to bring THE BEASTMASTER back into the marketplace at the request of the composer, newly remastered by Digital Outland under the composer’s supervision. The end result is a rendition of the BEASTMASTER score that most closely matches what Lee had imagined back in 1982. The booklet includes exclusive liner notes written by author Randall Larson with the participation of the composer. Dragon’s Domain Records presents THE BEASTMASTER on 2 CDs. Disc 1 opens with the original album program from 1983 followed by the music cues as they appear in the movie in film order, continuing onto Disc 2. THE BEASTMASTER is a limited edition release of 1000 units. THE BEASTMASTER will begin shipping the week of February 22, 2016. DISC ONETHE SOUNDTRACK ALBUM01. The Legend of Dar (Main Theme) (1:32)02. The Horde (The Destruction of Emur) (2:43)03. A Sword and an Eagle (The Epic Begins) (4:49)04. Friends of Dar (Suite 1) (3:35)A) The Princess KiriB) Kodo, Podo and Ruh05. The Pyramid (02:47)06. Night Journey (Suite 2) (3:56)A) The EagleB) The City07. The Battle on the Pyramid (6:42)08. Heroic Friends (4:30)09. Escape From the Pyramid (2:40)10. Dar’s Solitude (1:28)11. The Great Battle (Dar’s Triumph) (3:37)12. The New Kingdom (3:22)13. A Hero’s Theme (The Legend of Dar) (2:56) THE FILM SCORE14. Seq. 1 - Main Titles (1:48)15. Seq. 2 - Stealing the Child (3:12)16. Seq. 3 - The Ritual (1:36)17. Seq. 4 - A New Father (1:35)18. Seq. 5 - Juan Raid (4:21)19. Seq. 6 - Sword and Eagle (4:41)20. Seq. 7 - Ferret Chase/Quicksand (2:13)21. Seq. 8 - Captive Panther/Fighting Juns (2:53)22. Seq. 9 - The Bathing Scene (1:20)23. Seq. 10 - Dar Pursues Kiri (5:10)Total Time - Disc One: 73:57DISC TWOTHE FILM SCORE CONT.1. Seq. 11 - Journey to the City (1:31)2. Seq. 12 - Sacrifice Thwarted (4:16)3. Seq. 13 - Death Sentence (2:16)4. Seq. 14 - Eagle Vision (2:22)5. Seq. 15 - The Rescue of Kiri (2:21)6. Seq. 16 - Raft Escape (4:12)7.Seq. 17 - Into the Pyramid/Corridor Ambush (1:00)8. Seq. 18 - Stealing the Keys/The Cell (4:41)9. Seq. 19 - The Escape Begins/ The Escape Continues (2:49)10. Seq. 20 - A Little Late (1:27)11.Seq. 21 - Outside the Pyramid (1:34)12. Seq. 22 - Through the Gate/Dar the Outcast (2:44)13. Seq. 23 - Pyramid Battle, Part I(Alternate) (2:49)14. Seq. 24 - Pyramid Battle, Part II (Alternate) (2:18)15.Seq. 25 - Pyramid Battle, Part III (Alternate) (3:57)16. Seq. 26 - Preparations (1:48)17. Seq. 27 - The Horde Attacks/The Moat/ Dar vs. Jun Leader (4:48)18. Seq. 28 - The Tide Turns (1:30)19. Seq. 29 - A New King (3:24)20. Seq. 30 - Finale (2:05)BONUS TRACK21. The Beastmaster (Concert Suite)* (7:31) *London Symphony Orchestra Conducted by Charles Gerhardt Total Time - Disc Two: 68:33

THE LIGHTHORSEMEN http://buysoundtrax.stores.yahoo.net/liorsobymami.html SRP: $17.95 FIRST 100 Copies will be autographed by composer Mario Millo LISTEN TO A SOUND CLIP FROM the score for THE LIGHTHORSEMEN http://buysound.webjedi.net/Lighthorsemen_DDR/01%20The%20Lighthorsemen%20.mp3 THE LIGHTHORSEMEN is a limited edition release of 1000 units. Starts Shipping the week of Feb 22 ,2016 SPECIAL OFFER UNTIL FEB 22, 2015: Buy THE LIGHTHORSEMEN and THE BEASTMASTER together at Buysoundtrax.com and get a 10% Discount on these titles!!!! Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the soundtrack release of THE LIGHTHORSEMEN, the 1987 Australian war film directed by Simon Wincer (LONESOME DOVE, QUIGLEY DOWN UNDER) , written by Ian Jones (NED KELLY, AGAINST THE WIND), starring Peter Phelps, Bill Kerr, Grant Piro, Gary Sweet, John Walton, Tim McKenzie, Jon Blake, Sigrid Thornton, Shane Briant and Anthony Andrews, featuring music composed by Mario Millo (BRIDES OF CHRIST, CHANGI). THE LIGHTHORSEMEN is based on the true story of one of the greatest mounted infantry charges in history, which took place during World War I’s Battle of Beersheba on Oct. 31, 1917. The battle occurred near the end of the War’s Sinai and Palestine Campaign (1915-1918), where the British Empire struggled to drive German and Ottoman Turk troops out of the areas in the Middle East that had been occupied by the Ottoman Empire. The film dramatically portrays one of the finest moments of Australian expertise on military horseback, in the spirit of such previous Australian films as BREAKER MORANT and GALLIPOLI. As mounted infantry, the Lighthorse differed from cavalry, where in battle cavalry charged and attacked on horseback while the Lighthorsemen carried all their gear on horseback into battle, then dismounted to fight the enemy like regular infantry. THE LIGHTHORSEMEN was directed by Simon Wincer, a young television director who was brought into feature films through producer Antony l. Ginnane’s series of impressive Aussie horror films in the late ‘70s/early ‘80s. Wincer directed SNAPSHOT (aka THE DAY AFTER HALLOWEEN) and HARLEQUIN for Ginnane. Ian Jones, a prolific writer for Australian television since the late 1960s, had a keen interest in the history of his native country, and one of his early scripts for the Australian series MATLOCK POLICE featured a monologue from a former Lighthorsemen character who recounted the charge at Beersheba. Wincer, who was also directing episodes of MATLOCK POLICE at the time, saw the episode and was prompted to learn more about the charge; fifteen years later Jones showed Wincer his script for THE LIGHTHORSEMEN and that started the ball rolling. The cast was assembled primarily from Australian actors. To fill out the Lighthorsemen brigade, riders were recruited from all over Australia, performed under supervision of a Lighthorse expert. Award-winning cinematographer Dean Semler (DEAD CALM, THE ROAD WARRIOR, MAD MAX BEYOND THUNDERDOME) was brought in as director of photography. Composed by Mario Millo, the large-scale orchestral score for THE LIGHTHORSEMEN has gone on to be regarded as one of the great Australian film scores. It took Millo about 6-8 weeks to write, orchestrate, and record the music for the film. The score was recorded in Robert Blackwood Hall at Monash University in Melbourne. The recording was engineered by Roger Savage using Soundfirm’s mobile recording truck, and performed with musicians were from the Melbourne Symphony Orchestra, then moonlighting as the Victoria Philharmonic. The sessions were conducted by noted Australian composer/conductor William Motzing. Previously released on compact disc by 1M1 Records in 1991, Dragon’s Domain Records is excited to bring THE LIGHTHORSEMEN charging back into the marketplace, newly remastered by Digital Outland. The booklet includes exclusive liner notes written by author Randall Larson, with the participation of the composer and producer Antony I. Ginnane. THE LIGHTHORSEMEN is a limited edition release of 1000 units. THE LIGHTHORSEMEN will begin shipping the week of February 22, 2016THE LIGHTHORSEMEN is a limited edition release of 1000 units. THE LIGHTHORSEMEN will begin shipping the week of February 22, 2016. 01 The Lighthorsemen (End Titles) 4:2902 Horses and Train 2:1603 Palestine (Opening Titles) 2:1904 The Lighthorse Appear 1:1205 Bedouin Ambush 1:5706 News from Home 2:1507 Leaving Khan Yunis 1:5408 Anne and Dave 4:2909 Ruins at Khasif 2:3510 Plane Attack 1:3911 The Letter 2:4612 The Haversack 2:5313 March to Beersheba 3:1614 The Charge 7:0215 Under the Guns 2:4316 Saving the Wells 4:1417 Victory at Beersheba 4:24Total Time: 53:03

This offer ends tonight at midnight (Pacific time), so use it or lose it.

As a little present to start off the New Year from BSX! Here is a FREE DIGITAL DOWNLOAD from our Dropbox account of a special release of our favorite tracks released on BSX and DRAGON’S DOMAIN over the last year or so. LINK TO FREE DOWNLOAD https://www.dropbox.com/sh/er10emyuc12s12k/AABbBqPhy743WoIGezxfLVaha?dl=0 PASSWORD: BSX2015GIFT This link will expire on 01/31/2016. SPECICAL NOTE: PC users might wish to copy the files to their own dropbox and download it from there. If you have any issues downloading these tracks, please contact us at info@buysoundtrax.com We hope you enjoy this release. The Staff of BSX RECORDS and DRAGON’S DOMAIN RECORDS

John Morgan's Ode to Herrmann THE AFTERMATH - Original Soundtrack from the Steve Barkett Production by John Morgan http://buysoundtrax.stores.yahoo.net/aforsofrstba.html SRP: $17.95 LISTEN TO A SOUND CLIP FROM the score for THE AFTERMATHhttp://buysound.webjedi.net/Aftermath_Audio/01%20Main%20Title-Deep%20Space.mp3 THE AFTERMATH is a limited edition release of 1000 units. Starts Shipping the week of July 13 ,2015 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the world premiere soundtrack release of THE AFTERMATH, featuring music composed and conducted by John Morgan for the 1982 science fiction film written, produced and directed by Steve Barkett and also starring Lynne Marguilies, Larry Latham and Sid Haig. THE AFTERMATH tells the story of three astronauts returning to Earth from a deep space mission only to find a world demolished by nuclear war. Crash landing just outside of Los Angeles, the two surviving astronauts, Newman (Barkett) and Matthews, find that the city is occupied by blood thirsty mutants and, worse, ruled by a gang of mercenary bikers under the leadership of a violent thug named Cutter (Haig), who leads his gang on raids to murder the male survivors and enslave the women and children. After exploring the wreckage of the city, Newman and Matthews rescue two women and a pair of adolescent children. As the film continues, they struggle to keep their new families alive, despite the ongoing threat of Cutter’s raids until a decision must ultimately be made about how to deal with Cutter and his men. Writer-director Steve Barkett first conceived of the film in 1972 as a project he wanted to develop with his friend Stanley Livingston (then completing a twelve-year run as Chip on the long-running 1960s TV series MY THREE SONS). After several false starts that failed to come to financial fruition, and just as Barkett had decided to scrap the whole idea, financing came in through a family member and the project was a go. Barkett, who’s had small roles acting in films as far back as the early 1970s, assumed the lead role of Newman himself, with Larry Latham (later a noted storyboard artist and Disney animation director) taking on the role of the other surviving astronaut, Matthews. Noted film heavy Sid Haig took on the lead bad guy role of Cutter; Lynn Margulies (actress, artist, sister of musician Johnny Legend and comedian Andy Kaufman’s girlfriend for the last two years of his life) debuted as Sarah, Newman’s love interest, with Barkett’s son Christopher taking on the role of the youngster Chris, survivor of the holocaustic future. Well-known fan, memorabilia collector, and editor of the influential FAMOUS MONSTERS OF FILMLAND magazine Forrest J Ackerman made one of his many small but affectionate film roles as the Museum Curator. Noted Roger Corman player and famous bit-player Dick Miller voiced an important radio broadcast. Future Oscar-winning visual effects wizards Robert and Dennis Skotak did their first work in Hollywood by providing the film’s miniature effects, including the impressive models of a ruined urban L.A. wasteland and the occasional exploding head gag. When it came to establishing the kind of music he wanted for THE AFTERMATH, Barkett’s vision was clear. “I wanted a traditional orchestral score with a Bernard Herrmann flavor as well as the kind of synchronization with character that Max Steiner was known for,” he said. Barkett was referred to composer John Morgan, who had made friends with all of the effects people involved with THE AFTERMATH on earlier projects and happily put forth his name. With similar taste in music, it was a fruitful collaboration. As Barkett had suggested, Morgan succeeded in crafting an expressive fusion of Herrmann and Steiner, imparting a musical voice distilled from a confluence of both: the brooding, swelling, ominous Herrmann chords frothing with the vivid melodic touches of Steiner. Despite the production’s meager budget, Barkett was able to accommodate a reasonably large orchestra to record the score. His score is almost an anachronism for its day, reflecting a scoring tradition of an earlier era at a time when most sci-fi films were exploring new worlds of electronic music or embodying clear-cut STAR WARS facsimiles. But Morgan’s music gave THE AFTERMATH a potent aural production value that elevated it far above its low-budget roots and provided the story with a pervasive sense of dramatic import that no other film of its type had achieved at the time. John Morgan is a film composer based in Los Angeles, California. After receiving his Masters Degree in Music at San Diego State University, and studying composition with David Ward-Steinman, he stayed on at the University and taught orchestration, music theory and various film music courses. In the late 70s, Morgan moved to the Los Angeles area and secured work orchestrating for such composers as Fred Steiner, Bruce Broughton and Alex North. In 1979, Morgan composed and orchestrated his first feature film score and in the ensuing years composed music for more than 30 feature films, as well as many television, radio and cable projects including STARSHIP TROOPERS 2, TRINITY AND BEYOND, RAY HARRYHAUSEN – THE EARLY YEARS, CINERAMA ADVENTURE, DEMON IN THE BOTTLE, TINY TOON ADVENTURES and others, many in collaboration with his music partner and life long friend, William Stromberg. Morgan's love and passion for the great scores of Hollywood's golden age has led him to the arena of arranging and reconstructing many classic scores for new recordings. He has embarked on a long series of film music recordings for Marco Polo (Naxos), BMG Classics his own label with Anna Bonn and William Stromberg, TRIBUTE FILM CLASSICS. Among the scores he has reconstructed and orchestrated for new recordings are: Max Steiner's THE CHARGE OF THE LIGHT BRIGADE, KING KONG; Erich Wolfgang Korngold's CAPTAIN BLOOD, ESCAPE ME NEVER, THE ADVENTURES OF ROBIN HOOD, THE SEA HAWK; Roy Webb's scores for the Val Lewton films, Hans Salter and Frank Skinner's THE WOLF MAN, HOUSE OF FRANKENSTEIN, ABBOTT AND COSTELLO MEET FRANKENSTEIN as well as scores by Hugo Friedhofer and Victor Young.Dragon’s Domain Records is excited to present the world premiere compact disc release of THE AFTERMATH, remastered and reconstructed from the composer’s own elements by James Nelson at Digital Outland with assistance from composer William Stromberg. The booklet includes exclusive liner notes written by author Randall Larson, with the participation of the film’s director and star, Steve Barkett, along with composer John Morgan and a final word from composer William T. Stromberg. THE AFTERMATH is a limited edition release of 1000 units. THE AFTERMATH will begin shipping on the week of July 13th. and can be ordered at www.buysoundtrax.com.The first 100 copies will be autographed by composer John Morgan. 01 Main Title / Deep Space 2:2002 Attack 2:3503 Caught / Massacre / Rocket 4:3104 Dangerous Sea / Ascension / Scaling the Walls 3:4205 Night Stalking / Night Attack 2:1606 Wandering / Throat Slitting 3:4307 Montage 1:1208 Storm 1:3309 The Museum / Apparition 2:4110 Child’s Voice / Who’s Chris? 1:2211 Rape Scene 2:5812 Forry’s Death 1:4813 Chris and Newman / The Rifle / The Fight / Mutants After Chris 3:0914 Mutant Attack 2:2315 Love Scene / Fireplace 4:2716 Family Feud / Target Practice 1:2017 Night Raid / Laser Fight / In Bed 4:1918 The Bitch / Oh! My God! 1:0619 Death of Sarah / Death / Burning Bodies 4:5920 Justice 0:4921 Day Raid / Transition 8:0422 Prelude to Skirvin / Skirvin Scene 5:1923 Mourning 0:4124 Newman is Hit / Newman Dies / Finale / End Cast 4:56Total Time: 71:06

http://www.buysoundtrax.com/Horner_obit_6_15.html Randall Larson's Obit at Buysouondtrax.com for Mr. Horner

Well, here is a very lovely review of this release I thought I'd share: https://sdtom.wordpress.com/2015/05/07/schindlers-list-the-film-music-of-john-williams/

http://buysoundtrax.stores.yahoo.net/sclifimuofjo.html SRP: $15.99 Now Available for Ordering Ships 04/07/2015 In honor of the Maestro’s 83rd birthday (Feb. 8, 2015), BuySoundtrax Records proudly presents this collection of new recordings, in which some of John Williams’ most thoughtful orchestral film compositions are distilled into the intimacy of the instrumental duet. These tracks comprise Williams’ own arrangements as well as those of pianist Dan Redfeld, who is joined by Elizabeth Hedman (violin), David Washburn (trumpet), Donald Foster (clarinet), and Karen Hogle Brown (voice) in articulately presenting these themes with deference to their composer and with the heartfelt artistry of each performer. Singular among virtually all Hollywood motion picture composers, John Williams has established a distinguished reputation in contemporary American music over a career that has thus far continued for six decades. It’s a sign of the ongoing flexibility of Williams’ music and his ongoing association with the concert hall and with modern classical music that many of his film works are being translated into new arrangements for performance by a variety of small ensembles. It was actually the composer himself who first began to reshape the symphonic splendor of his movie music into the austere environment of the chamber hall. For SCHINDLER’S LIST: THE FILM MUSIC OF JOHN WILLIAMS, the composer’s own arrangements were used for the new recordings and where Williams hadn’t published his own arrangements, Dan made his own arrangements, relying on his understanding of Williams’ compositional style from having studied and played them over many years. “John is my favorite composer,” Redfeld said. “In college, I had the good fortune to hang around him and watch him work in Boston, and I know his material.” The spotlight on these selections is intended to be on the soloists: violin, clarinet, trumpet, voice. As a bonus track, SCHINDLER’S LIST: THE FILM MUSIC OF JOHN WILLIAMS includes Redfeld’s arrangement of “Where Dreams Are Born,” a vocalise for soprano and orchestra from the soundtrack to Spielberg’s wistful science fiction drama, A.I. ARTIFICIAL INTELLIGENCE (2001). Without a published arrangement of the piece, Redfeld transcribed the music by hand from the film soundtrack. “I used John’s vocal notes as they were written,” he said, “and I came up with the arrangement for the piano part.” John Williams was born in New York and moved to Los Angeles with his family in 1948. There he attended UCLA and studied composition privately with Mario Castelnuovo-Tedesco. After service in the Air Force, Mr. Williams returned to New York to attend the Juilliard School, where he studied piano with Madame Rosina Lhevinne. While in New York, he also worked as a jazz pianist, both in clubs and on recordings. He then returned to Los Angeles, where he began his career in the film industry, working with such composers as Bernard Herrmann, Alfred Newman, and Franz Waxman. Best known for his film scores and ceremonial music, Williams is also a noted composer of concert works and a renowned conductor. Williams’ scores for films such as JAWS, E.T.: THE EXTRA-TERRESTRIAL, SCHINDLER'S LIST, as well as the INDIANA JONES, STAR WARS and the HARRY POTTER series have won him multiple awards and produced best-selling recordings. Williams has composed the music and served as music director for many films, including SAVING PRIVATE RYAN, AMISTAD, SEVEN YEARS IN TIBET, THE LOST WORLD, ROSEWOOD, SLEEPERS, NIXON, SABRINA, SCHINDLER'S LIST, JURASSIC PARK, HOME ALONE, FAR AND AWAY, JFK, HOOK, PRESUMED INNOCENT, ALWAYS, BORN ON THE FOURTH OF JULY, the INDIANA JONES series, THE ACCIDENTAL TOURIST, EMPIRE OF THE SUN, THE WITCHES OF EASTWICK, the STAR WARS series, SUPERMAN, CLOSE ENCOUNTERS OF THE THIRD KIND, JAWS, GOODBYE MR. CHIPS and many more. Dan Redfeld is a classically trained concert pianist and composer/conductor who studied at Boston’s New England Conservatory. While many of his fellow students were embracing modernistic, atonal music, Redfeld was more interested in tonal, neo-romantic music, an inclination grounded by his studies with acclaimed composer and pianist William Thomas McKinley. At the same time, Redfeld had discovered a love for film music through the work of John Williams in JAWS and STAR WARS. Through McKinley, Redfeld met and watched Williams at work with the Boston Pops, and the famous film composer’s influence settled into his artistic design. Redfeld began scoring short films for the American Film Institute, and in a day when many film composers were coming out of popular music into Hollywood film scoring careers, he found his academic background particularly advantageous to the music he was writing. SCHINDLER’S LIST: THE FILM MUSIC OF JOHN WILLIAMS includes liner notes written by author Randall Larson providing insight into the creation of the recordings featured on this album. SCHINDLER’S LIST: THE FILM MUSIC OF JOHN WILLIAMS is a limited edition release and is now available from www.buysoundtrax.com. THREE PIECES FROM SCHINDLER’S LIST Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by John Williams 1. Theme from Schindler’s List (4:39) 2. Jewish Town (Krakow Ghetto – Winter ’41) (4:51) 3. Remembrances (5:45) 4. THE TERMINAL: Viktor’s Tale (4:02) Donald T. Foster, clarinet • Dan Redfeld, piano Arranged by John Williams 5. MEMOIRS OF A GEISHA: The Chairman's Waltz (2:43) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld after the original by John Williams 6. Tango (Por Una Cabeza) (4:22) Elizabeth Hedman, violin • Dan Redfeld, piano Music by Carlos Gardel, Lyrics by Alfredo Le Pera Arranged by John Williams 7. JFK: Main Theme (5:36) David Washburn, trumpet • Dan Redfeld, piano Arranged by Dan Redfeld 8. THE PATRIOT: Main Theme (4:20) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld 9. SABRINA: Main Theme (5:43) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by John Williams 10. MONSIGNOR: Main Theme (2:35) David Washburn, trumpet • Dan Redfeld, piano Arranged by Dan Redfeld 11. DRACULA: End Credit (3:55) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld 12. FIDDLER ON THE ROOF (4:30) Elizabeth Hedman, violin • Dan Redfeld, piano Music by Jerry Bock, Lyrics by Sheldon Harnick Adaptation, arrangement & violin cadenzas by John Williams 13. A.I. - ARTIFICIAL INTELLIGENCE: Where Dreams are Born (4:33) Karen Hogle Brown, soprano • Dan Redfeld, piano Arranged by Dan Redfeld Total Time: 58:55

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Here is the final track list: THREE PIECES FROM SCHINDLER’S LIST Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by John Williams 1. Theme from Schindler’s List (4:39) 2. Jewish Town (Krakow Ghetto – Winter ’41) (4:51) 3. Remembrances (5:45) 4. THE TERMINAL: Viktor’s Tale (4:02) Donald T. Foster, clarinet • Dan Redfeld, piano Arranged by John Williams 5. MEMOIRS OF A GEISHA: The Chairman's Waltz (2:43) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld after the original by John Williams 6. Tango (Por Una Cabeza) (4:22) Elizabeth Hedman, violin • Dan Redfeld, piano Music by Carlos Gardel, Lyrics by Alfredo Le Pera Arranged by John Williams 7. JFK: Main Theme (5:36) David Washburn, trumpet • Dan Redfeld, piano Arranged by Dan Redfeld 8. THE PATRIOT: Main Theme (4:20) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld 9. SABRINA: Main Theme (5:43) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by John Williams 10. MONSIGNOR: Main Theme (2:35) David Washburn, trumpet • Dan Redfeld, piano Arranged by Dan Redfeld 11. DRACULA: End Credit (3:55) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld 12. FIDDLER ON THE ROOF (4:30) Elizabeth Hedman, violin • Dan Redfeld, piano Music by Jerry Bock, Lyrics by Sheldon Harnick Adaptation, arrangement & violin cadenzas by John Williams 13. A.I. - ARTIFICIAL INTELLIGENCE: Where Dreams are Born (4:33) Karen Hogle Brown, soprano • Dan Redfeld, piano Arranged by Dan Redfeld Total Time: 58:55

https://variety.com/2015/music/news/runaway-recordings-generate-discord-among-l-a-musicians-1201393025/ A Very well written piece about the business side of recording film scores that might interest you.