Amer

New updated artwork: DELUXE EDITION SACD/Bluray 

 
https://store.universal-music.co.jp/contents/shop/um/img/goods/G10/UCGG-9233.JPG

Not insensitive at all, but I'm not quite sure how to answer it.
 
Do you mean, how do I watch them? Well, in this case I'd just be enjoying the surround version as opposed to the stereo mix, provided they've invented better hearing aids by that time since my right eardrum had to go and become all funny and healing is not something it wants to.
 
Or do you mean, why would I want to watch them with someone? Maybe to ask their opinion on what they see or the occasional description of what they see. Or because I'm guessing it would be more exciting for them to watch instead of just listen.
 
Does that answer your question?

Since I made the the preorder more than a month ago then iI should be able to get the Calendar in the SACD edition.

Some bonus material showing up...
 

John Williams in Tokyo (Deluxe Edition)【SA-CD】【SA-CD HYBRID】【+Blu-ray】 | John Williams / Stephane Deneva | UNIVERSAL MUSIC STORE (universal-music.co.jp)
 

John Williams in Tokyo【CD】【UHQCD】 | John Williams / Stephane Deneva | UNIVERSAL MUSIC STORE (universal-music.co.jp)

New updated artwork: DELUXE EDITION SACD/Bluray 

 
https://store.universal-music.co.jp/contents/shop/um/img/goods/G10/UCGG-9233.JPG

New updated artwork: DELUXE EDITION SACD/Bluray 

 
https://store.universal-music.co.jp/contents/shop/um/img/goods/G10/UCGG-9233.JPG

I have a Total Recall of that.

I can see a raptor lurking out of the undergrowth...

New updated artwork: DELUXE EDITION SACD/Bluray 

 
https://store.universal-music.co.jp/contents/shop/um/img/goods/G10/UCGG-9233.JPG

Really surprised that no one posted this but here's the Raiders March performance
 
 

If someone else doesn’t do it I can maybe see if I can record it somehow.

Hey fellow Jay Dubs fans,
 
The new 2023 edition of Hook is an absolute masterpiece in full form and IMO every bit the revelation that the Harry Potter Collection was. These scores offer such an astounding amount of great music -- a cornucopia if you will -- that I feel they invite and in some ways even demand that you continually find new ways to experience them. I feel that Disc 3 of the Hook set serves as proof of this concept, just as Mike's creative assembly for Close Encounters did as well.
 
Anyway, I had a lot of fun reading about the creative edits some of you made with the Potter box and I figured that Hook was just as deserving of that kind of love and attention. So if you're like me and you like to make shorter custom albums to serve as companions to the whole enchilada, here's a whittling and editing guide like the one we had for the Potter box.
 
The goals for this thread are the same. It's intended as a place to share ideas on how to:
 
- Connect cues (not necessarily chronological!)
- Make creative microedits
- Intelligently create suites with listening experience as a higher priority than strict chronology
As an example, my current custom companion album for Hook is short and covers all of my favorite highlights, but is not at all intended to replace the main program of the Ultimate Edition. It breaks down like this:
 
01. From Page to Stage... (1:22)
UE D1T2 We Don't Wanna Grow Up (START-1:22)

02. ...And Stage to Screen (1:26)
UE D2T11 Prologue (Alternate)

03. Nutty Wendy and Hook Returns to Kensington (8:03)
UE D1T5 The Bedroom (ALL)
UE D3T5 The Stories Are True (Alternate) (START-1:04)
UE D1T16 Draw Your Sword (1:24-END)
UE D1T15 Hook's Entrance (1:15-END)
UE D1T8 Hook Returns to Kensington (ALL)
UE D1T9 Hook-napped (ALL)
 
I wanted to start my album with a suite that emphasizes both the whimsical and some of the darker moments of the score. I really love the transitions in this suite, especially from The Bedroom into The Stories Are True and from Hook's Entrance into Hook Returns to Kensington. I also made the stinger at the end of Hook-napped come in a bit earlier to keep the momentum going.

04. Tinker Bell and The Flight to Neverland (3:29)
UE D1T12 The Arrival of Tink (1:40-END)
UE D1T13 The Flight to Neverland (0:59-END)
 
I'm really proud of this suite. It jumps straight to Tinker Bell's theme and never loses too much momentum.
 
05. Give Us the Hook! (3:49)
UE D1T14 Pirate Town and Presenting the Hook (START-1:22)
UE D1T15 Pirate Town and Presenting the Hook (2:44-3:31)
UE D3T24 Presenting the Hook (Vocal Version Segment) (ALL)
 
I used the sessions leak for the clean ending of Arrival at Neverland and the clean opening of I'll Take Those Shoes and then switched to the vocal version of Presenting the Hook shortly before the vocals come in.
 
06. The Lost Boys Ballet (2:23)
UE D1T20 The Lost Boys Chase (START-1:20)
 
Nothing special here. I used the End Credits track for a cleaner, concert suite sort of ending.

07. Hook's Ennui and Smee's Epiphany (6:04)
UE D1T22 Hook's Epiphany (ALL)
UE D1T25 Hook's Lesson (START-2:00)
UE D1T25 Hook's Lesson (2:49-END)
UE D1T23 Smee's Plan (ALL)
 
I feel this suite could maybe use some more trimming, but at least I'm happy with all the transitions between cues.

08. Believe Your Eyes (4:22)
UE D1T29 Goodnight Neverland (ALL)
UE D2T14 The Face of Pan (Choral Version) (ALL)
 
09. Never-Feast and Food Fight (6:06)
UE D1T26 The Banquet (ALL)
UE D1T27 The Never-Feast (Film Version)
UE D3T13 The Never-Feast
 
For this track, I did my best to imitate the way the concert suite transitions from The Banquet into The Never-Feast. Then somewhere after the big film version insert, I switched to the album version of The Never-Feast for the longer ending. I decided to omit Cutting the Coconut since it's very similar to the cue Follow That Shadow, which opens the next track.

10. Childhood Memories Montage and Pan Is Back (12:08)
UE D2T2 Home Run and Follow That Shadow (2:46-END)
UE D2T3 Peter Remembers (The Flying Sequence) (ALL)
UE D2T4 You Are the Pan (Film Version) (ALL)
 
I got the clean opening for Follow That Shadow from the partial sessions leak. For years now, all of my Hook edits have had The Flying Sequence crossfaded with You Are the Pan and at this point, it doesn't sound right to me to have the cues separate.

11. The Ultimate War (7:48)
UE D2T15 The Ultimate War (ALL)
 
Just to make this album a little more different from the UE main program, I used the album version of The Ultimate War without the film version inserts and crossfaded it with the next track.

12. Death of Rufio (4:13)
UE D2T7 Death of Rufio (ALL)
 
Crossfaded with previous and next tracks.

13. The Sword Fight and The End of Hook (7:09)
UE D2T8 The Sword Fight and the End of Hook (ALL)
 
Crossfaded with previous track.

14. Farewell Neverland (10:29)
UE D2T9 Farewell Neverland (START-5:58)
UE D3T20 Farewell Neverland (Short Version / Alternate) (2:24-END)

Sure, but the as-is edit I did in that screenshot didn't remove the original bit, so that got mixed in with the insert in that version.
 
Just give me a second...
 
EDIT: Well, that fade-in back to the original cue is making the track really uncooperative, but here's my best attempt for the time being:
9m4 - The Never-Feast Insert.mp3
 

Here is Mikes talk before the concert: 
 

The happy news I cryptically alluded to last week is now something I can make official: I just signed a book contract with OUP for 𝘛𝘩𝘦 𝘚𝘬𝘺𝘸𝘢𝘭𝘬𝘦𝘳 𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘪𝘦𝘴: 𝘔𝘶𝘴𝘪𝘤𝘢𝘭 𝘚𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘚𝘵𝘢𝘳 𝘞𝘢𝘳𝘴!   It's a book it feels like I've been writing in my head for a long, long time -- since middle school, kinda? And unless Williams somehow returns to write another entry in the series, I'm treating it a chance to provide a properly 𝘴𝘺𝘯𝘵𝘩𝘦𝘵𝘪𝘤 investigation into these scores, all nine of them.   Even Rise of Skywalker?? 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 Rise of Skywalker!   My hope is this book does some justice to the complexity, challenge, and sheer magic of this music.   Now, back to the grindstone!   https://www.facebook.com/Falstaft/posts/pfbid0L6wUjeDDxj6AmhwHh1f9obrVMJfYbPx4GJM8YaEWiZtqxwp37A88monPFVDxBQ26l  
Congratulations, @Falstaft!

As Bonneys vocals were recorded at Royce Hall (and boy do I love the sound of that recording..) The availability of the hall could be the reason why it was recorded late. 

I'm conflicted on this album, having attended the University of Florida and then transferring to (and graduating from) the University of Miami.
 
In all seriousness, always great to hear new recordings of Williams' music played by a wind ensemble.  Will have to check it out!

EL CID is brilliant, and the recording is top notch.

All big long busy scores... this'll be a tiring week!

I have enquired about it But no response from them whatsoever. Lets hope it happens. DUTTON just released a new batch after a very long gap but nothing did stir any interest for me there.

Mike Matessino did a great job bringing out the fuller sound. There is a day and night difference between the OST and this edition as well as the Blue Box!

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Here's the full DG news item as of 22.02.2024, 18:05:
 
30 years after his last visit to Japan, John Williams returned for two special concerts – one in Matsumoto and one in Tokyo – marking his debut with the world-famous Saito Kinen Orchestra, with selections from his beloved film scores, and reuniting with his longtime friend, world-renowned conductor Seiji Ozawa. The second of these concerts was captured live on record at Suntory Hall last year and the resulting recording, John Williams In Tokyo, is set to be released by Deutsche Grammophon on 3 May, following his acclaimed concert albums, The Berlin Concert and John Williams in Vienna, which topped charts around the globe. The first single, ‘Superman March’ is out now along with a music video of the performance. The digital album is available for pre-order from today, with details of the physical editions to follow – including a deluxe limited edition vinyl box set to include Williams’ recordings from Vienna, Berlin, Boston and Tokyo for release later in the year.
 
It was a long-held dream of Seiji Ozawa’s to see John Williams and the Saito Kinen Orchestra perform together in Japan, so the performances – and their reunion last year – held great meaning for both artists.  Months in the planning, the announcement of this live recording was originally scheduled for the week of John Williams’ birthday (8 February). However, following the news of Seiji Ozawa ‘s passing, it was decided to announce the recording today after close discussion with his family and management.
 
Williams was invited to Japan by his good friend Ozawa to conduct the Saito Kinen Orchestra – Ozawa’s “musical family” – so the realisation of the two concerts in Matsumoto and Tokyo was a landmark moment – not only for the pair, but for music fans around the world. Ozawa said of the occasion: “This special collaboration between them in Matsumoto and Tokyo was a joy that genuinely defies expression – my longstanding dream has finally come true!” The feeling was reciprocated by John Williams: “It was a joy to return to Japan after 30 years to visit my dear friend and longtime musical colleague Seiji Ozawa and to conduct his brilliant Saito Kinen Orchestra for the very first time.”
 
Williams was a close friend of Ozawa ever since the latter was Music Director of the Boston Symphony Orchestra and took part in the Tanglewood Music Festival in western Massachusetts. As Ozawa recounted in January of this year, “I’ve consistently encouraged John to experience the unique essence of the Saito Kinen Orchestra, confident that he would love it”. Ozawa was in Matsumoto to witness the concert and was delighted to be reunited with his friend.
 
The concerts took place in September 2023, following Williams’ recent performances with the Berlin Philharmonic, Boston Symphony Orchestra, Vienna Philharmonic Orchestra and the Recording Arts Orchestra of Los Angeles. He conducted the Saito Kinen Orchestra at the Seiji Ozawa Matsumoto Festival, a music festival directed by Seiji Ozawa, and a gala concert at Suntory Hall in Tokyo celebrating the 125th anniversary of Deutsche Grammophon. Both concerts had sold out in minutes.
 
The long-awaited collaboration consisted of an all-Williams programme, including ‘Superman March’, ‘Theme from Schindler’s List’ and ‘The Imperial March’ from Star Wars. For both concerts, John Williams shared the podium with acclaimed conductor and friend, Stéphane Denève – Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and Principal Guest Conductor of the Netherlands Radio Philharmonic.
 
After the first half of the programme (conducted by Denève), Williams appeared on the Tokyo stage and introduced his ‘Superman March’ in honour of Ozawa. He said, “If you translate ‘Superman’ from English back into Japanese, ‘Superman’ means Seiji Ozawa.” The audience was moved by his words indicating their deep friendship and the Saito Kinen Orchestra responded to their enthusiasm with a riveting performance.
 
Captured live at the concert in Tokyo, the long-awaited release of this musical celebration of friendship is planned for 3 May, the day before so-called Star Wars Day (‘May the Fourth’). The album includes 11 pieces conducted by Williams and a bonus track, ‘Tributes! (for Seiji), conducted by Denève. The work was composed by Williams in 1999 to honour Ozawa’s 25th anniversary as Music Director of the Boston Symphony Orchestra, and is now being released for the first time worldwide.
 
Later in the year, Deutsche Grammophon will continue to celebrate the art of John Williams with the release of John Williams in Concert, a deluxe and very limited 7LP vinyl box set featuring his latest DG recordings alongside exclusive fan content. The release, available to pre-order on 4 May, will include his historic Vienna, Berlin and Boston concerts as well as the newest addition, John Williams in Tokyo. Parallel to this release, a week-long John Williams celebration will take over STAGE+ featuring selected concerts, both new and from the archive.
 
For more than half a century, John Williams has shaped the history and sound of film music, his instantly memorable themes and consummate orchestrations gracing some of the finest movies of modern times. His extensive catalogue also includes other symphonic and chamber works, as well as innovative adaptations of his own cinematic themes.

I did not think to add this at first, but I might as well.
 
Two of my most prized possessions!


 

Mike Matessino did a great job bringing out the fuller sound. There is a day and night difference between the OST and this edition as well as the Blue Box!