lairdo

@crumbs You beat me by a min!  (But you may want to edit out the last 6 lines about Patriot Games. Never mind, you fixed it as I was writing.)
 
My take - it's nice to have the original album available in remastered sound. It has always been a great listen, and it's really amazing to think that 70 mins was released back then. 
 
I do wonder if the digital release might get updated at HD resolutions as that could be swapped in for the existing digital masters out there now. (Which is actually already at 196/24 now that I look at HDtracks.com.) Hmm. 
 
In any case, I'm happy to have this in my collection and will order tomorrow. I have no problem with La-La Land releasing something is pretty much a lot of previous content. As noted above, some folks don't have it and are paying high eBay prices if they want a physical copy, and La-La Land and other should be able to use the material they developed and paid for anyway they need. There are no different than Warner Bros, Sony, DG, Decca and other labels getting more mileage from their catalog with box sets and other combos. Look at the Philips JW Boston Pops set. They did not even remaster it. 
 
I am all for these wonderful companies thriving and helping us be satiated for all the wonderful music they bring us.
 
 

And we have orbit! 
 
Part 2 has launched and can be found here:
http://theindycast.com/indycast-special-the-magic-of-john-williams-62-part-2/
 
In this episode, we really cover the bulk of the maestro's music from launch to landing where most of the spotting put the orchestral work. 
 
Ed Dolista, our host, used my MP3 version which should sound fine even with the noise reduction I had to apply. However, if you prefer it uncompressed, here are those links.
 
Part 2 uncompressed WAV
Part 2 uncompressed ALAC
 
As always, a huge thanks to Mike Matessino for all his insights and time to share them.
 
Laird
 
PS: Part 1 can be still be found with these links
ALAC - https://mega.nz/file/fNR0XCqL#zfP-spAvOsv_cwuGF00Qc2jJp9n85LP_wxkE3BIuo3k
WAV - https://mega.nz/file/TNxiiYTK#lf3PzbWRl72f88qrs0gjE0wW5Fc5HvwSL0snBfZrYqs
 
 
 
 

JURASSIC PARK: LIMITED EDITION (2-CD SET)
LLLCD 1593
Music by John Williams
Limited Edition of 5000 Units
RETAIL PRICE: $29.98
STARTS SHIPPING JULY 5
 
Order yours from www.lalalandrecords.com starting 12 noon (pst) on 7/5.

La-La Land Records, Universal Studios and Amblin Entertainment, Universal Music Group and Geffen Records present JURASSIC PARK, a limited 2-CD re-issue presentation of maestro John Williams’ (JAWS, STAR WARS, SCHINDLER’S LIST) original motion picture scores to the 1993 blockbuster JURASSIC PARK starring Sam Neill, Laura Dern and Jeff Goldblum and directed by Steven Spielberg. Williams’ monumental JURASSIC PARK score teems with thematic orchestral wonder and is celebrated as one of the composer’s most accomplished works. Produced, edited and mastered by Mike Matessino, (with fresh outputs of the 192k/24 bit master files utilized in our 2016 collection) this re-issue utilizes that material to re-create the original 1993 soundtrack album. This is featured on Disc 2 and is followed by the source music track “Stalling Around” (the composer’s homage to classic Warner Bros. cartoon music for Jurassic’s “Mr. DNA” sequence). Disc 1 showcases the entire main Score Presentation, which now includes, for the first time, the performances and mixes of “Journey To the Island” and “Dennis Steals The Embryo” as heard in the film. The 28-page CD booklet features liner notes by Matessino (adapted from our 2016 collection) and the new art design is by Jim Titus. This is a limited edition of 5000 Units.
 
 
 
TRACK LISTING:
SCORE PRESENTATION
1 Opening Titles :37
2 Incident at Isla Nublar (Film Version) 2:23
3 The Encased Mosquito 1:16
4 Entrance of Mr. Hammond 1:09
5 Journey to the Island (Film Version) 8:54
6 Hatching Baby Raptor (Film Version) 2:04
7 You Bred Raptors? :40
8 The History Lesson (Film Version) 1:33
9 Jurassic Park Gate 2:05
10 Goat Bait 2:26
11 The Saboteur :47
12 Ailing Triceratops 2:37
13 The Coming Storm (Film Version) 1:26
14 Dennis Steals the Embryo (Film Version) 5:04
15 Race to the Dock 1:18
16 The Falling Car and The T-Rex Chase 4:59
17 A Tree for My Bed 2:13
18 Remembering Petticoat Lane 2:49
19 My Friend, the Brachiosaurus(Film Version) 1:51
20 Life Finds a Way 1:27
21 System Ready :50
22 To the Maintenance Shed 4:13
23 High Wire Stunts 4:10
24 Hungry Raptor 2:10
25 The Raptor Attack 2:50
26 T-Rex Rescue and Finale 7:43
27 Welcome to Jurassic Park (Film Version) 7:58
Total Time Disc 1: 77:44
 
CD 2
1993 ORIGINAL SOUNDTRACK
1 Opening Titles :36
2 Theme From Jurassic Park 3:27
3 Incident at Isla Nublar 5:22
4 Journey to the Island 8:55
5 The Raptor Attack 2:50
6 Hatching Baby Raptor 3:22
7 Welcome to Jurassic Park 7:57
8 My Friend, the Brachiosaurus 4:18
9 Dennis Steals the Embryo 5:03
10 A Tree for My Bed 2:13
11 High Wire Stunts 4:10
12 Remembering Petticoat Lane 2:49
13 Jurassic Park Gate 2:05
14 Eye to Eye 6:35
15 T-Rex Rescue and Finale 7:43
16 End Credits 3:27
 
BONUS
17 Stalling Around 2:41
Total Time Disc 2: 73:35
 
This is a CD format release.
 
Exclusive new tracks highlighted in green. The other selling point is a rebuilt OST, created using the same high-res transfers from 2016. I never realised the existing versions of Journey to the Island and Dennis Steals the Embryo didn't fully utilize the film takes. Does anyone know what sections use alternate takes in the film?

And we have orbit! 
 
Part 2 has launched and can be found here:
http://theindycast.com/indycast-special-the-magic-of-john-williams-62-part-2/
 
In this episode, we really cover the bulk of the maestro's music from launch to landing where most of the spotting put the orchestral work. 
 
Ed Dolista, our host, used my MP3 version which should sound fine even with the noise reduction I had to apply. However, if you prefer it uncompressed, here are those links.
 
Part 2 uncompressed WAV
Part 2 uncompressed ALAC
 
As always, a huge thanks to Mike Matessino for all his insights and time to share them.
 
Laird
 
PS: Part 1 can be still be found with these links
ALAC - https://mega.nz/file/fNR0XCqL#zfP-spAvOsv_cwuGF00Qc2jJp9n85LP_wxkE3BIuo3k
WAV - https://mega.nz/file/TNxiiYTK#lf3PzbWRl72f88qrs0gjE0wW5Fc5HvwSL0snBfZrYqs
 
 
 
 

Thanks!
 
Part 2 should finally come out tomorrow (July 4!). We were backed up behind the regular IndyCast last week. I'll post the uncompressed files here as the audio issues were the same (since we recorded the whole thing in one long session). Only 90 mins for part 2
 
Update: Might be tomorrow (July 5) as Ed, our host, was very busy over the past week and is behind.

Thanks!
 
Part 2 should finally come out tomorrow (July 4!). We were backed up behind the regular IndyCast last week. I'll post the uncompressed files here as the audio issues were the same (since we recorded the whole thing in one long session). Only 90 mins for part 2
 
Update: Might be tomorrow (July 5) as Ed, our host, was very busy over the past week and is behind.

Following last week's podcast interview between James Jolly and John Williams, out today is Gramophone's July 2022 issue featuring John Williams on the cover. I believe this is the first time he has ever been on the cover of this venerable classical music magazine although of course not the first time he has been written about in the magazine. (Anne-Sophie Mutter was on the cover following the release of Across the Stars in 2019.)
 
Andrew Farach-Colton writes about William's long history of writing concerti and contains quotations from Leonard Slatkin, Yo-Yo Ma and Anne-Sophie Mutter (but none directly from Williams). The article is a nice survey with particular focus on the first violin concerto (and a bit on the flute), the cello concerto (both versions) and the tuba concerto. Prelude and Fugue (1965) and Sinfonietta (also 1965) get passing mentions as early works. (The author suggests that the latter, recording for DG around 1970, deserves a reissue.) 
 
Nothing really overly revealing within the article although it is a nice read and points to some of the technics (12 tone writing) and how the concerto pieces tend to be without a lot of melody. However, Farach-Colton does note the various influences he senses on Williams - Penderecki and Walton for example. 
 
The issue also contains a combined review of both recent releases - A Gathering of Friends and Violin Concerto No. 2. Alas, neither merits an editor's choice award for the month. In fact, the review feels more descriptive of the discs contents than analytic of the quality.  
 
Oddly - but maybe not - the editor in chief's monthly introduction section contains no mention of the feature article at all instead featuring layout changes within the magazine. 

Good find. I think Holt is doing a good job of being honest without being too bitter. It's easy to imagine she felt yanked around by the Lucasfilm powers.
 
I am not sure I read that Chow or Holt were the wrong people at all. I feel this is more saying that the direction they got (or assumed they had to go towards) was to be "different." Not because that is a big break with the past but more that they would not have been allowed to create something like Rogue One for Obi-Wan. Maybe I am not reading between the lines enough though.
 
I saw the video interview with Holt, and she exuded positivity. I hope this experience does not damper her excitement as a composer too much for whatever projects are the best fit for her.
 
The final episode (which I saw this week finally) just made me sad about the whole show and what could have been but was not.
 
 

Good find. I think Holt is doing a good job of being honest without being too bitter. It's easy to imagine she felt yanked around by the Lucasfilm powers.
 
I am not sure I read that Chow or Holt were the wrong people at all. I feel this is more saying that the direction they got (or assumed they had to go towards) was to be "different." Not because that is a big break with the past but more that they would not have been allowed to create something like Rogue One for Obi-Wan. Maybe I am not reading between the lines enough though.
 
I saw the video interview with Holt, and she exuded positivity. I hope this experience does not damper her excitement as a composer too much for whatever projects are the best fit for her.
 
The final episode (which I saw this week finally) just made me sad about the whole show and what could have been but was not.
 
 

Good find. I think Holt is doing a good job of being honest without being too bitter. It's easy to imagine she felt yanked around by the Lucasfilm powers.
 
I am not sure I read that Chow or Holt were the wrong people at all. I feel this is more saying that the direction they got (or assumed they had to go towards) was to be "different." Not because that is a big break with the past but more that they would not have been allowed to create something like Rogue One for Obi-Wan. Maybe I am not reading between the lines enough though.
 
I saw the video interview with Holt, and she exuded positivity. I hope this experience does not damper her excitement as a composer too much for whatever projects are the best fit for her.
 
The final episode (which I saw this week finally) just made me sad about the whole show and what could have been but was not.
 
 

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

I know this was mentioned on another Obi-Wan Kenobi thread that Canadian violinist James Ehnes performed on the score. It's a nice connection given Ehnes has played the JW first violin concerto Stephane Deneve from time to time.
 
Here's an article I found about his involvement.
https://www.winnipegfreepress.com/arts-and-life/entertainment/arts/from-tatooine-with-love-576468612.html
 
 

Presto has it too which might be faster and cheaper for some folks. (Thought, they don't have the 10" vinyl.)
https://www.prestomusic.com/classical/products/9329243--williams-violin-concerto-no-2-selected-film-themes
 
 
Well, I think that ASM continues to understand the work better and better. I just listened to the Philly version again this weekend, and it is very tight. Carnegie Hall sounds great (as do Symphony Hall in Boston). Probably a toss up between the two in terms of performance. I would say the Philadelphia Orchestra is probably considered stronger now than the BSO, but the BSO does love to play for JW. 
 
There is one big caveat though on preference which is why I think the released version is better. At the end of the piece, there is a very loud clunk on the radio broadcast. It's quite audible and gets in the way of the ending. This is not a criticism of the recording of course - just an unfortunate accident.
 

That's cool! (And I do think Mike should get one too.)

That's cool! (And I do think Mike should get one too.)

Thanks to @lairdo’s post, my copy arrived today.  Nice!

Wow, the covers are fantastic. I had never gone through all the of the previous posts. Darn good stuff.

Thanks, Jay. Glad you liked it. There is another chunk to follow.

Alas, there was a technical issue which resulting in having to do a lot of clean up to even get to this point. Mike in fact did record locally, and while he could not hear it on his end when we recorded, the issue was there in both his local and my remote recording. We discussed re-recording (Mike kindly volunteering to do so), but he was so open and insightful the first time, I felt we could not capture that magic again. 
 
I do suspect that when Ed (our IndyCast host) recompressed the file, the situation got exacerbated.
 
Here are the uncompressed versions (WAV and ALAC) for those who have not listened already. I'll post an uncompressed link to part 2 when it is ready as well. (Sorry the files are so big - I edit everything at 96 and just left it at that rate to reduce artifacts.)
 
Thanks again for listening,
 
Laird
 
ALAC - https://mega.nz/file/fNR0XCqL#zfP-spAvOsv_cwuGF00Qc2jJp9n85LP_wxkE3BIuo3k
WAV - https://mega.nz/file/TNxiiYTK#lf3PzbWRl72f88qrs0gjE0wW5Fc5HvwSL0snBfZrYqs
 
 
 
 

Thanks, Jay. Glad you liked it. There is another chunk to follow.

Alas, there was a technical issue which resulting in having to do a lot of clean up to even get to this point. Mike in fact did record locally, and while he could not hear it on his end when we recorded, the issue was there in both his local and my remote recording. We discussed re-recording (Mike kindly volunteering to do so), but he was so open and insightful the first time, I felt we could not capture that magic again. 
 
I do suspect that when Ed (our IndyCast host) recompressed the file, the situation got exacerbated.
 
Here are the uncompressed versions (WAV and ALAC) for those who have not listened already. I'll post an uncompressed link to part 2 when it is ready as well. (Sorry the files are so big - I edit everything at 96 and just left it at that rate to reduce artifacts.)
 
Thanks again for listening,
 
Laird
 
ALAC - https://mega.nz/file/fNR0XCqL#zfP-spAvOsv_cwuGF00Qc2jJp9n85LP_wxkE3BIuo3k
WAV - https://mega.nz/file/TNxiiYTK#lf3PzbWRl72f88qrs0gjE0wW5Fc5HvwSL0snBfZrYqs