ricsim88

That piece was performed by the Utah Symphony, btw (as was Call of the Champions on the same album). All the rest of the tracks were done in LA.

For KOTCS and Tintin I believe Malcolm Macnab was still playing first, but was definitely getting up there in age, it would have certainly affected  his tone a bit. He also had a tendency to use smaller horns on higher stuff (Eb and D trumpets, and even piccolo in JP)which would definitely contribute to a brighter and more edgy sound. More recently in LA the guys are using C trumpets for the most part, so again slightly brighter than Bb. The sound concept is also quite different between North American and British players. I’m not saying the recording locations and techniques are not playing a part too. So I guess your list of reasons is definitely a good one to explain the difference in sound.

For KOTCS and Tintin I believe Malcolm Macnab was still playing first, but was definitely getting up there in age, it would have certainly affected  his tone a bit. He also had a tendency to use smaller horns on higher stuff (Eb and D trumpets, and even piccolo in JP)which would definitely contribute to a brighter and more edgy sound. More recently in LA the guys are using C trumpets for the most part, so again slightly brighter than Bb. The sound concept is also quite different between North American and British players. I’m not saying the recording locations and techniques are not playing a part too. So I guess your list of reasons is definitely a good one to explain the difference in sound.

I so hesitate to jump to age as a factor, but I can't deny that it's a possibility.
 
Interesting Jon Lewis quote I just found:
 
 
Source: https://www.vanlaartrumpets.nl/en/?vanlaar_artist=jon-lewis-3
 
Jon played on most of the scores in question, making his way up to principal. Wouldn't it be funny if my problem largely came down to a single custom-built instrument?  I doubt that's the case, but maybe it's a factor.
 
 

Williams has nothing to prove, no need to make some “final statement.”  He will give the film in front of him the score it needs like he always does.

A thing to consider: the film is Spielberg's love letter to his parents, whom he loved immensely and who both passed away not too long ago. Steven often brought both of them to attend John's scoring sessions over the years and JW himself came to know both quite well, so it's fair to assume that this was personal and intimate for him too. From all I saw so far, it feels just right to score such a personal story with an intimate chamber-like approach instead of going bombastic. This probably will disappoint people who were expecting Adventures on Earth Part 2, but what we'll end up getting is for sure something that both director and composer felt was right for this film.

I don't know about the French guy, but Pedroni's transcriptions and arrangements were absolutely submitted to JW's team before the recording he did for Varèse and got their greenlight.
 
As far as I know, JW and his team are more than happy with musicians (especially talented ones like Pedroni and @jimnova ) doing their own reductions and playing them in recitals, but the only thing they ask is to not publish and sell these arrangements. It's not news or a change of policy at all, it's always been this way. The issue here is people collecting money out of copyrighted material they do not own. Entities like MusicNotes.com, which allow virtually anyone to submit their reductions of copyrighted material and sell them through their website, are doing it against the current laws of virtually every country in the Western world. It doesn't matter one iota if they are good reductions. This might be disappointing for people wanting to pay for more elaborated transcriptions than what is officially available, but that's how things are. There is simply too much stuff circulating around and it would be impossible to submit everything to JW and have him looking at it to give green or red light for a commercial release, therefore the choice is to have out only stuff that is already being sanctioned.
 
So, yes, the title of this thread is plain wrong and the moderators should edit it.

Thomas Hooten | Facebook

I’ll take it. Everybody watch on Hulu (and soon on Disney+)! Let’s make this happen! Don’t let the current best sci-fi show on TV die after only three seasons!
 
Yavar

Damn, that was an incredible score! Dare I say perhaps top 5 in the entire series!
So many interesting surprises as well:
 
-Joint score by Kevin Kaska and John Debney (additional music)
-Return of Debney's Kaylon theme
-First usage of choir in the show!
-Reuse of Bruce Broughton's "Krill Attack", but a new arrangement, and in the best possible placement 👌
 
I need an album release yesterday!

The Orville 3x03 Mortality Paradox
 
Wow! This episode was really good!  I thought the opening scene with Talla was unusually clunky, or off in some way, though with the end of the episode in mind it all makes sense.  All the various scenarios the crew goes through were really fun!  The high school with the giant monster, the crashing plane, the Moclan burial chamber, the underwater sea beast, etc - each really cool in different ways!  And I loved the fake-out of finding the holographic projector and thinking they escaped everything, only for that to be another illusion.
 
The final reveal that it was the civilization from the season 1 finale, now advanced another 50,000 years, was awesome.  I loved the entire conversation that their representative had with the crew.  And then I loved when they got back on the ship, they had a little conversation about mortality and stuff to end the episode.  I'm just loving everything about this show right now!
 
Joel McNeely's score was FANTASTIC!!!  We're clearly at the point here where it makes no sense that Disney would give Mandalorian Season 1 and Wandavision weekly albums but not this show - this show CLEARLY deserves to have a new album coming out every Friday of that composer's work on that week's episode.  It's cruel that this is not the case! 
 

Hello, forgot to come here to advertise i posted an another remastered John Williams Video.
 
As some maybe noticed on @Marc recent post about his cover of Theme from Sabrina, I did the remastering of the video he used. (I think it's miguel who gave me the original material 15 years ago,  so thanks to him !).

so Where is "Theme from Sabrina" Remastered. During the remasterisation process, a technical issue surfaced that I only noticed recently. Unfortunatly the "solution" slowed a LOT the process to do all these remasterisations because my computer is not powerful enough.
The "issue" is very present on "Theme from Sabrina" or any old analog material. It's everywhere on the picture.
Getting ride of it take times (money too.., it needs some specific software).

Meanwhile, you can enjoy the amazing version of Marc, the original one still available or Call of Champions below where the issue is hardly noticeable. I changed a bit the overall colors because the one from the original recording were awful.
 
Here it is :
 

Sad state of affairs when LLL (sarcastically) predicted complaints in their announcement post, and JWFan dutifully follows suit.
 
If you're so angry about the reissue, don't buy it. Or buy it and sell your old version. How anyone could be angry about a new generation of fans finally having access to one of the Maestro's most iconic scores is beyond me.
 
For anyone who owns the existing release, there is absolutely nothing wrong it. No music was omitted. It was assembled from a first generation, high-resolution transfer. There's no editing flubs. Everything on the OST can be recreated. The mastering might be a little hot but that's personal preference anyway. This is hardly an Azkaban/Eiger/AI situation where more music exists that was omitted from the first album then added to a (hypothetical) subsequent expansion, nor a Superman/Home Alone/Hook situation where inferior sources had to be used on a previous release because first-gen sources were missing.
 
For all we know this is the reissue LLL needed to keep the lights on and fund projects for later in the year, including more Williams scores! How could any JWFan be upset about that?!
 
If the only thing labels see are complaints, why would they even bother trying to improve existing releases like Hook, Jaws, Fiddler, Images, Jane Eyre or Azkaban in the future? The shortsightedness here is frankly breathtaking.

I thought that the full red artwork was going to be the front cover..but I still like this one from the original poster sheet.
From the musician list : Legendary Maurice Murphy on the Trumpet.  One of the great ace players from LSO.

Been trying to familiarize myself more with the works of Lalo Schifrin here lately. Certainly some parallels to Williams. Started out with a background rooted in being a jazz pianist, worked in TV before mostly switching to larger films, born in 1932. His last big scoring effort, however, was in 2007 with the third Rush Hour movie.
 
And it's easy for me to forget how easily that could have been the case with Williams. Music is so ingrained into his DNA that, indeed, I think it unlikely that he would ever truly step away from the music creation process. Say he'd stepped away from film scores back in 2007. For one thing, he's already cemented himself as one of the greats, with that title being secured even going back a considerable number of years prior. But also think of how much career-defining music he has put out since then. I think of his work on Lincoln, another entire film trilogy of Star Wars films, all of his concert pieces, etc. It all feels a little surreal. Other users, including myself, have waxed poetic on this strain of conversation before, so I realize I'm not making light of anything new. I think more than anything I'm trying to speak to myself trying to rationalize how bizarre it is that we're here on this forum still discussing, debating, and analyzing the continued film scoring efforts of John Williams, and that many think that some of these such efforts are among the best he's ever contributed to the musical form. He wrote Rey's theme at 83. Imagine living a life such that you are able to say that, perhaps, your best work was in your 80s. That's insane.
 
Goldsmith. Bernstein. Hermann. Steiner. Mancini. Morricone. Titans of the industry that we look to as being emblematic of the old guard. Williams met, worked with, or was active alongside all of them at some point in their lives. He's that singular bridge tethering us in the here and now to old Hollywood. And somehow here we are getting ready to see him record a score to another one of the biggest movies ever made. To have a man be so prolific for so long at such a level of quality is a gift. To have a place like these forums for the 3+ generations of fans that have grown up and been inspired by his work is another. We could be in a timeline where Williams closed up shop in 2007 and we're all here in a dark cave driving ourselves mad with what could have been. But we're not. He's scoring another fucking Indiana Jones movie. And I still can't believe it.

Artie Kane was a true “L.A. Studio Legend” indeed. His career is the epitome of the greatness of that pool
of musicians.
 
Here’s the tribute from The Legacy of John Williams:
 
https://thelegacyofjohnwilliams.com/2022/06/24/in-memoriam-artie-kane/

His arrangement is perfect for this...(contest only makes sense for trombonists but it's a good listen)
 
Jim Nova's latest overdub is a medley of 6 "villain" themes written by John Williams and is scored for eight bass trombones and two contrabass trombones. What's more sinister than a bass trombone choir?
 
Jim is hosting a contest to see who can identify the six villains from the medley!
 
https://www.johnstonbaughs.com/topic/a-gathering-of-villains-contest-3rd

Now available to pre-order
 
https://neumation-music.com/products/jerry-goldsmith-twilight-zone-the-movie-in-full-score

Totally agree!  The flaw of the show was from a marketing point of view, Seth MacFarlane is a comic strip creator, producer and writer of the Family Guy.  So they pushed it as a sort of sci-fi comedy.  Great sci-fi shows have great heart and sometimes use comedy to tell story.  Star Trek OST had lots of humor AND drama!  But he's so much more than that!  He's a professional musician (member in good standing of local 47, same union with John Williams) and was given an award for his contribution to the local scoring scene because his shows always feature large orchestras which is very rare these days especially for tv/streaming.  Just think about it...Orville just used a 95-piece feature film orchestra recorded at 20th Century Fox's Newman's stage.  That's what 200 million dollar films get not an episodic tv show in the age of synths and remote recordings!  He's also very brilliant in how he incorporates astrophysics, philosophy, pop culture, etc., in to his stories.  He's a modern day Rod Serling and Gene Roddenberry hiding complex morality tales behind sci-fi allegory.  He's passionate about the arts, sciences, etc.  I attended his concert of big band songs he commissioned with LA Local 47 and Joel McNealy and he kept on heaping praise on their talent and wishing to keep the arts of alive.  The crazy thing is I've seen him do the same about science.  He's awesome!  
 
I'll also add that Joel McNeeley is a wonderful composer and teacher.  I personal memory I'd like to share.  I had a session where he was the mentor.  I felt it went horribly.  I was so embarrassed and looked back at him to see him with a big smile enjoying the music and waxing philosophically about music and its transcending qualities.  It was deeply humbling that he had such a big smile on my music and how supportive and encouraging he was on what I considered to be a failure because of wrong notes or poor writing.  He gave me so much confidence.  I captured that moment in a picture so will look for it later.  

Holy shit.

Not only was Episode 3 as a whole brilliant, the music for this show is so good

For the love of god, please put Joel McNeeley on another Star Wars project

Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.

Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.

Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.

Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.

Just received an email from Hal Leonard. The suite is scheduled to be released mid July. It wouldn’t be surprising if JW performed something from it at the Hollywood Bowl.