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rocky 3 horn solo


tony69
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WOW. I just found out my friends grandpa is THE guy who played the famous horn solo, vincent derosa. :)

Right now i'm still in shock. now i want to go interview him and find out about him, his pioneering horn sound, and his work with goldsmith and williams lol. imagine the stories. imagine the aura.

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Vince DeRosa was for Hollywood in the 60's, 70's and early 80's what Jim Thatcher has been for the last twenty years or so, namely the incarnation of the huge "Hollywood" horn sound. It is Vince DeRosa you hear doing all horn solos for Williams and Goldsmith on any score recorded in L.A. till ca. mid 1980's. He is a magnificent horn player.

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I stand corrected! Now, when did James Thatcher "take over" as principal? I thought he was on at least most of the Williams recordings from the mid-to-late 80's and onwards?

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:D

What an exciting discovery, Tony!

If you do ever get the chance to speak to Vince de Rosa, I would be very interested to hear any of his recollections about the score for John Williams' Earthquake. I believe he also played horn on one of my other favourite scores of the 70's, David Shire's The Taking of Pelham 123.

Henry Mancini's Oscar-winning Days of Wine and Roses also owes much to de Rosa's flawless playing, while I believe he also worked with greats such as Alfred Newman.

What are you waiting for, man? Interview and transcribe!

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What it would have given to have been a fly on the wall when Vince DiCola composed the Training Montage for Rocky IV. Oh how he captured the contrast of nature vs. technology and the synergy, buildup, and energy of the sublime images. This scene is almost as powerful as Rock's brilliantly intercut flashbacks in Rocky V when he's engaged in the final street fight. This is one series I am proud to see continue!

Ted

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I stand corrected! Now, when did James Thatcher "take over" as principal? I thought he was on at least most of the Williams recordings from the mid-to-late 80's and onwards?

I think, they in fact, overlapped in the beginning of the 90's (possibly late 80's, but I'm not sure) Robin Hood came out in 1991 and De Rosa played lead there, but Hook also came out in 1991 and Jim Thatcher was the principal horn there (He plays a short but amazing solo in the track called 'The lost boy chase, at about 1'10")

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:D  

What an exciting discovery, Tony!

If you do ever get the chance to speak to Vince de Rosa, I would be very interested to hear any of his recollections about the score for John Williams' Earthquake.  I believe he also played horn on one of my other favourite scores of the 70's, David Shire's The Taking of Pelham 123.

Henry Mancini's Oscar-winning Days of Wine and Roses also owes much to de Rosa's flawless playing, while I believe he also worked with greats such as Alfred Newman.

What are you waiting for, man?  Interview and transcribe!

HAha yea! this guy's whole family is musically loaded. i didnt know about all his connections until i talked to him more. i only know of him cuz we both compose, but now i found out more.

OMGOMG his family has STRONG roots in hollywood. his aunt has recorded almost every score with williams, many with goldsmith, mancini even herrmann. his aunt is also good friends with previn! and this guy himself recorded a few goldsmith scores (Star Trek 3) and has personally met williams, while doing a few of his concerts. so i could get you all a VERY good interview. omg i must convince him to let me meet his entire family. and after that, go to the indiana jones recording sessions.... i hope that can be arranged.

Call me when it's the guy who did the "Force" theme in Star Wars.

:wave: Just kidding, that's awesome!

i guess i need ur phone number now:).

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Star Trek III is Horner's.

shoot, i forgot it was horner. but ya he did record some goldsmith scores as well; the later ones however. for star trek, here's a story you wont wanna miss. So after recording, the director and horner were talking close to this guy, the cellist. and the director was saying "the love theme, its too unemotional. it doesnt work. it sounds so cold." which was obvious, cuz it was the alien girl. so horner is thinking, cuz he obviously does NOT wanna rewrite it. So he goes, "well, that girl gives me a hard on." and the director is like "WTF?!" and horner is like "ya, that's the sort of music that i think of when i think of her. damn she's so sexy" and the director is like "r u for real? this is the ugliest girl ever." but then finally horner convinced the director that she gave him a hard on, which obviously she didnt. but the point is the director then says "fine, if that's what you want, then we'll keep it." hahaha.

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