Jean-Baptiste Martin

Hey guys,
 
Thank you very much for your interest in the articles and I'm really touched that some people are asking for them.
 
There are several reasons why the detailed analyses have been discontinued:
The organization of the concert in May 2022 that was broadcast worldwide on YouTube, the one with Spectral Shimmers and A Forest Passage, was a culmination for JHFM. It was the result of 4 years' work. Often after this kind of event, there's a bit of a lull. Life offers us so much to discover. Over the years, part of the team has moved on to other occupations, passions... Personally, I've been working on the book since March 2018. Ever since I met the composer's family and visited his studio. All my free time for almost 6 years has gone into this project. It's my main objective and so I've given up writing articles for the site. We liked to publish these articles exclusively, i.e. before you received the albums. To do this, you had to be warned of the releases and receive the albums in advance (or else write the article at top speed in 48 hours, but that's not ideal). Today, only one publisher allows us to do this, and asks me to check the content before publication.  I do this with pleasure and rigor, but the above-mentioned factors (lack of time, priority given to the book, small team of volunteers) prevent me from writing new articles. The book will be 1600 pages long, divided into 4 volumes. The first volume is scheduled for early 2024. Its aim is to bring together all known information on the composer's work. It's quite a challenge. Probably impossible, but we're giving it our best shot.

As for the podcast... it was planned, but once again the lack of time, of available people... prevented it from happening. I hope that the release of the books will be the occasion for several podcasts.

Hey guys,
 
Thank you very much for your interest in the articles and I'm really touched that some people are asking for them.
 
There are several reasons why the detailed analyses have been discontinued:
The organization of the concert in May 2022 that was broadcast worldwide on YouTube, the one with Spectral Shimmers and A Forest Passage, was a culmination for JHFM. It was the result of 4 years' work. Often after this kind of event, there's a bit of a lull. Life offers us so much to discover. Over the years, part of the team has moved on to other occupations, passions... Personally, I've been working on the book since March 2018. Ever since I met the composer's family and visited his studio. All my free time for almost 6 years has gone into this project. It's my main objective and so I've given up writing articles for the site. We liked to publish these articles exclusively, i.e. before you received the albums. To do this, you had to be warned of the releases and receive the albums in advance (or else write the article at top speed in 48 hours, but that's not ideal). Today, only one publisher allows us to do this, and asks me to check the content before publication.  I do this with pleasure and rigor, but the above-mentioned factors (lack of time, priority given to the book, small team of volunteers) prevent me from writing new articles. The book will be 1600 pages long, divided into 4 volumes. The first volume is scheduled for early 2024. Its aim is to bring together all known information on the composer's work. It's quite a challenge. Probably impossible, but we're giving it our best shot.

As for the podcast... it was planned, but once again the lack of time, of available people... prevented it from happening. I hope that the release of the books will be the occasion for several podcasts.

Hey guys,
 
Thank you very much for your interest in the articles and I'm really touched that some people are asking for them.
 
There are several reasons why the detailed analyses have been discontinued:
The organization of the concert in May 2022 that was broadcast worldwide on YouTube, the one with Spectral Shimmers and A Forest Passage, was a culmination for JHFM. It was the result of 4 years' work. Often after this kind of event, there's a bit of a lull. Life offers us so much to discover. Over the years, part of the team has moved on to other occupations, passions... Personally, I've been working on the book since March 2018. Ever since I met the composer's family and visited his studio. All my free time for almost 6 years has gone into this project. It's my main objective and so I've given up writing articles for the site. We liked to publish these articles exclusively, i.e. before you received the albums. To do this, you had to be warned of the releases and receive the albums in advance (or else write the article at top speed in 48 hours, but that's not ideal). Today, only one publisher allows us to do this, and asks me to check the content before publication.  I do this with pleasure and rigor, but the above-mentioned factors (lack of time, priority given to the book, small team of volunteers) prevent me from writing new articles. The book will be 1600 pages long, divided into 4 volumes. The first volume is scheduled for early 2024. Its aim is to bring together all known information on the composer's work. It's quite a challenge. Probably impossible, but we're giving it our best shot.

As for the podcast... it was planned, but once again the lack of time, of available people... prevented it from happening. I hope that the release of the books will be the occasion for several podcasts.

Hey guys,
 
Thank you very much for your interest in the articles and I'm really touched that some people are asking for them.
 
There are several reasons why the detailed analyses have been discontinued:
The organization of the concert in May 2022 that was broadcast worldwide on YouTube, the one with Spectral Shimmers and A Forest Passage, was a culmination for JHFM. It was the result of 4 years' work. Often after this kind of event, there's a bit of a lull. Life offers us so much to discover. Over the years, part of the team has moved on to other occupations, passions... Personally, I've been working on the book since March 2018. Ever since I met the composer's family and visited his studio. All my free time for almost 6 years has gone into this project. It's my main objective and so I've given up writing articles for the site. We liked to publish these articles exclusively, i.e. before you received the albums. To do this, you had to be warned of the releases and receive the albums in advance (or else write the article at top speed in 48 hours, but that's not ideal). Today, only one publisher allows us to do this, and asks me to check the content before publication.  I do this with pleasure and rigor, but the above-mentioned factors (lack of time, priority given to the book, small team of volunteers) prevent me from writing new articles. The book will be 1600 pages long, divided into 4 volumes. The first volume is scheduled for early 2024. Its aim is to bring together all known information on the composer's work. It's quite a challenge. Probably impossible, but we're giving it our best shot.

As for the podcast... it was planned, but once again the lack of time, of available people... prevented it from happening. I hope that the release of the books will be the occasion for several podcasts.

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

I don't know if the dates appear in the booklet of the new edition. LLL no longer sends me anything.
 
But I have almost all the dates of the recording sessions.  In fact, I supplied the dates for the recent editions of Intrada (Battle Beyond the Stars and Humanoids). I found just about everything by cross-referencing various documents: Simon Rhodes' calendar, the Todd-AO Scoring Stage printed schedules, the cue sheets present in the scores and paid research at AFM Local 47.
Indeed, the first Zorro was recorded at Air Lyndhurst in London. But as they ran out of time, the rest of the recording took place at Todd-AO. The long piece for the final scene features both orchestras!
 
As for the 1998 timeline, I had made this illustration, which I commented on during a videoconference for the book's patrons.


 
 

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

@Edmilson Sorry for the confusion. I didn't specify that the color bars don't indicate the recordings but the whole process : spotting sessions / composition / recording / mixing.
It was just a schematic to show how 1998 was organized and how busy it was. I did this many years ago now and so I shared this without studying it deeply again.

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

I don't know if the dates appear in the booklet of the new edition. LLL no longer sends me anything.
 
But I have almost all the dates of the recording sessions.  In fact, I supplied the dates for the recent editions of Intrada (Battle Beyond the Stars and Humanoids). I found just about everything by cross-referencing various documents: Simon Rhodes' calendar, the Todd-AO Scoring Stage printed schedules, the cue sheets present in the scores and paid research at AFM Local 47.
Indeed, the first Zorro was recorded at Air Lyndhurst in London. But as they ran out of time, the rest of the recording took place at Todd-AO. The long piece for the final scene features both orchestras!
 
As for the 1998 timeline, I had made this illustration, which I commented on during a videoconference for the book's patrons.


 
 

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

I don't know if the dates appear in the booklet of the new edition. LLL no longer sends me anything.
 
But I have almost all the dates of the recording sessions.  In fact, I supplied the dates for the recent editions of Intrada (Battle Beyond the Stars and Humanoids). I found just about everything by cross-referencing various documents: Simon Rhodes' calendar, the Todd-AO Scoring Stage printed schedules, the cue sheets present in the scores and paid research at AFM Local 47.
Indeed, the first Zorro was recorded at Air Lyndhurst in London. But as they ran out of time, the rest of the recording took place at Todd-AO. The long piece for the final scene features both orchestras!
 
As for the 1998 timeline, I had made this illustration, which I commented on during a videoconference for the book's patrons.


 
 

@Edmilson Sorry for the confusion. I didn't specify that the color bars don't indicate the recordings but the whole process : spotting sessions / composition / recording / mixing.
It was just a schematic to show how 1998 was organized and how busy it was. I did this many years ago now and so I shared this without studying it deeply again.

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

Yes, that's the song. The orchestral track was clandestinely recorded during the Mighty Joe Young sessions! One of the many fun tidbits that will be in the book.
 
I'm honored to be in the thanks! Thank you for this information. @Jay Too bad I wasn't contacted ahead of publication to provide the dates of the sessions. Just as I would have appreciated being contacted on previous editions to point out missing tracks and typos in names.
 
As for the details of the tracks recorded in London and Los Angeles, all the information will be in the book... well, more precisely, in volume 2.
 

I don't know if the dates appear in the booklet of the new edition. LLL no longer sends me anything.
 
But I have almost all the dates of the recording sessions.  In fact, I supplied the dates for the recent editions of Intrada (Battle Beyond the Stars and Humanoids). I found just about everything by cross-referencing various documents: Simon Rhodes' calendar, the Todd-AO Scoring Stage printed schedules, the cue sheets present in the scores and paid research at AFM Local 47.
Indeed, the first Zorro was recorded at Air Lyndhurst in London. But as they ran out of time, the rest of the recording took place at Todd-AO. The long piece for the final scene features both orchestras!
 
As for the 1998 timeline, I had made this illustration, which I commented on during a videoconference for the book's patrons.


 
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.
 

To celebrate the one year anniversary of the concert, the video of Spectral Shimmers is now available.