Tom

A McRib?

Yeah, I know, but I figured if the question was explicitly about concert jazz pieces by Williams, they deserved special mention.

Any thoughts on these?

The last starfighter... is dead.

I have not thought about any of this in relation to chamber music, but I have with respect to his concert hall works in general. I used to want the concertos and such to sound like his film music. However, at this point, I want both. We have hours and hours (and hours) of his film music to listen to. We also have a good deal of music written in a different vein. So, best of both worlds. If his modern concert music took time away from flim scoring and such, it might be more of a zero-sum game sort of thing. But he is just so productive with both that I find there to be no problem or regrets.

Very unlikely, given Abrams' deal with Warner, but anything is possible. I will say this, if it is happening, I guarantee episode 1 is bringing Kylo back from the dead.

I didn't know former presidents worked for La La Land's PR department.

I agree, but it seems a big fragmented, as if he was taking what he knew was great from what he already wrote and dropped it into a revised context. That all being said, the biggest musical crime of the SW saga is on JJ--leaving the Speeder Chase 95% unused. Okay, well, all the issues are on JJ, as the man doesn't seem to have a clear idea of what his films are about when he begins shooting--like a weird second-rate clone of prequel-era Lucas. Hey, maybe we should rename the sequel trilogy Attack of the (2nd rate) Clone. I think I need sleep.

I think Williams poured his heart into the first version of the movie he watched. As he scored the 3rd or 4th version, he went last third of AOTC on it.

I remember a rumor that the ghosts of Luke, Leia, and Yoda (and other Jedi) appear during the scene. Perhaps that is what Williams was going for. I doubt it, though, the explanation above that JJ just wanted the classic themes is likely the right one.

I love the score, but I get this sort of reaction to it. I think I am a sucker for the fully orchestrated and sustained "dance" music, which we do not get too much with Williams--Devil's Dance and this (well, Swing, Swing, Swing, but way to close to the original). The suite is really nice, as it features both such themes. But the main pastoral theme is good, but not great.

The movie, as bad as it is, is oddly endearing and enjoyable.

It is similar to the Solo movie, but the guy has a sucker in his mouth the whole time.

Yes. I am guessing that will be a Sony release, unless things have changed. I wonder if they will aim for a birthday-framed release as well in Feb.

One would think the Yo Yo Ma cello album will be released in 2022 as well.

I am not sure if it is due to decisions by Williams, Sony, or both, but I have found their collaboration to be underwhelming. It started out nicely enough with the Star Wars and Spielberg albums, but then became so sporatic. Maybe I was just spoiled with Philips in the 80s.

If nothing else, Williams is hitting for the cycle with DG.

Yeah, that seems right, though if Berlin sells like Vienna, that is a heck of a lot. My guess is that the violin concerto will sell far less. I have never checked the numbers for the Mutter Across the Stars. Did it sell well?

To be young and in love (with Williams):

How realistic is it for Williams to become the top selling (ever) DG artist?

Does anyone find the main theme: Way to close to this?

A friend in the industry mentioned to me the contents of the fourth disc. Evidently, it is recording of the rehearsals, secretly recorded by a flautist. From what I am told, it it makes the Buddy Rich tapes seem tame in comparison.

I am personally hoping for The Asteroid Field and Leaving Home from Superman.

This track has both the "Here They Come" precursor and the Force theme, though the latter is not as direct--a cross between what will be the force theme and Dracula.

He wrote BS first, but, yes, it does seem like a dry run for several SW ideas--including the force theme itself.