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Trumpeteer

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Everything posted by Trumpeteer

  1. That's not where I got it, but I'm glad it's there as well.
  2. 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.)
  3. 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.
  4. I always smile when I hear "Getting Out the Vote." Such a fun composition to go with a great montage sequence.
  5. 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
  6. Sometimes I get those instruments mixed up. I often just say "woodwinds" unless it is clearly a specific instrument.
  7. He was great for The Eiger Sanction, Jaws and Amistad. I always had fun recording with him.
  8. 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.
  9. 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
  10. Yes, it is definitely the right thing to listen to the shows in order. Imagine reading someone's biography and starting on chapter 10? Don't rush through them. All episodes will remain available long after I finish the series in December.
  11. Brian Martell and I give this score a lot of love on The Baton. Here's the link to it if you haven't heard the episode. We play music only heard on the original CD release, though I agree there is a lot of good music left off. ;
  12. Purely by coincidence, the episode of "The Baton A John Williams Musical Journey" that I released yesterday discussed the score to War of the Worlds. This just happened to be the next film in my chronological survey of JW's film scores, and I knew nothing of this announcement of the expanded CD release. If you have not heard this episode, you can listen to it below. The episode features some music not heard in the original release, so you can hear stuff that you will be getting in this new release.
  13. Interesting. I'm not as familiar with "Neptune," so the similarity escaped me.
  14. I am happy you enjoyed the episode despite your disinterest in the Star Wars films. I guess I am doing something right.
  15. I'm honored that you liked the episode so much that you felt the need to press pause and post this. Thank you. Dan Higgins was so wonderful to talk to, and I am glad I decided to reach out to him. Yes, I should have focused more on the original stuff.
  16. Final voting is done by a select panel. All we can do now is wait for the results, which will be announced in September. I feel like I have been nominated for an Oscar!
  17. That remains in the top three of my favorite co-hosted shows.
  18. Hi, all! My podcast has been nominated for "Best Music Podcast" for the 2020 Podcast Awards! This is an exciting moment for this little show that started as a hobby and now has thousands of listeners on five continents. Check out the list at Podcastawards.com
  19. This is an error. Raiders of the Lost Ark was the only Spielberg film that has a score recorded by the LSO. Yes, Close Encounters played bits for the 1980 re-issue, but let's not count that.
  20. Music, like other art forms, is very subjective, even what we want to call various pieces. Whether it's called the Hogwarts theme or the Gryffindor theme, it's still a great musical statement. I put in that version of the end credits because I didn't want to use the soundtrack version. I should have taken the music from my US DVD, but I made this decision in a split second, and figured the end credits was on YouTube, which would save time over re-connecting my DVD player to my laptop. The music did seem to run a bit faster.
  21. As great as it was for me to have the original Star Wars trilogy play a big role in my childhood, I would be just as excited to have been a kid for the Harry Potter films. Well, maybe the first three. I hope I can deliver on your increased excitement for the remaining episodes. Also, I'm glad I helped you discover the Emperor's theme in the finale of The Phantom Menace. I bet lots of people didn't discover that at first. I only did because I was paying attention to the music to discover if it would be like "The Throne Room" from "Star Wars" since the visuals were pretty much the sa
  22. Return of the Jedi really rounded out the operatic feel of the entire trilogy score through its orchestration of the established themes, particularly Vader's theme. Perhaps the best musical moment of the entire original trilogy was the final lightsaber battle between Luke and Vader. It has the kind of music that no other composer could ever create for such an iconic moment. I talked about it in my "Return of the Jedi" episode of "The Baton: A John Williams Musical Journey." Click play below and you can hear my analysis of that lightsaber battle beginning at the 28:37 mark.
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