Trumpeteer

Just as a reminder: I mention in the first episode that I am not a trained musician, so approach this podcast knowing that. Plus, I would personally be bored if every episode was a music theory lecture. My frequent cohosts add that when needed and I am very thankful for that. @bruckhorn I am curious to know the new piece of information you learned in the Star Wars episode. Send me a private message.

Thanks @Biodome and @Bayesian for the kind words. They are much appreciated. I am happy that you discovered more music from John Williams and are going to watch some of the films. Many of the scores will be greatly enhanced from matching the music with visuals. Hey @T.RASK you are the first to say that you are going backwards. That feels like reading a book from the last chapter to the beginning, "Memento"-style. Hope you find it enjoyable.

Thanks for posting those videos, @Erik Woods. I was trying to inform as many people as possible, and forgot the most important place! Here is background on these videos: I hosted a virtual roundtable for 18 John Williams fans, all of whom cohosted "The Baton" with me. We talked for two hours about a lot of topics, including John Williams' legacy and the state of film scoring in the 21st century. There was also some lengthy debate about the music for two Indiana Jones films. But the highlight (at least for me) was a WORLD PREMIERE of a trombone overdub by Jim Nova of "Wide Receiver,

That's not where I got it, but I'm glad it's there as well.

A journalist never reveals his sources.

Nothing in return. The Brits have always been happy to be a part of the show. (Three of my four "special guests" come from the UK.)

That's exactly how it happens.

Thanks. That's my journalism degree at work!

Thanks. "Fortunate" is the best word to describe our opportunity to hear Brian give us this insight into John Williams' process. The story about sitting next to Williams while he played the piano was wonderful. Thanks for the clarification. I'll fix that.

I always smile when I hear "Getting Out the Vote." Such a fun composition to go with a great montage sequence.

I am happy to see all the comments that have sprung from the information I gave on my podcast about Williams almost scoring "Batman." I never tried to ponder what the music would sound like, but I do believe Burton would have fought for Danny Elfman, unsuccessfully. The problem is that Jon Peters was the Harvey Weinstein of his day (minus the sex stuff) and no one said no to him. So, if Jon Peters had gotten John Williams that was the final decision. That is also part of the reason Prince got involved. Burton caved in to demands that Prince write songs and he has said often that he

Sometimes I get those instruments mixed up. I often just say "woodwinds" unless it is clearly a specific instrument.

He was great for The Eiger Sanction, Jaws and Amistad. I always had fun recording with him.

I can't believe the 100th episode of this podcast is now available for the world to hear. Where has the time gone? It feels like yesterday I was nervously recording the first episode, then watching "Daddy-O" with excitement. Well, that was two years ago this month, and this only shows how fast time flies when you are having fun. Here's the 100th episode, covering the music from "Munich." People have said the score is boring and lifeless, but I think you need to hear it in the film in order to really appreciate it.

The possibility of me exploring his TV scores deeper than I already have is very low. It's hard to track down exactly which episodes he scored, and which were taken from the Universal library. The concert works would be fun, but many of them were never recorded, so they are impossible to find. I have had some help finding some of the ones I feature in some of the episodes, but I can't imagine someone out there has, for example, one of the two performances of Symphony No. 1. I started working on this project two years ago this month. It required a lot of sacrifice from other things