CEZANNE ET MOI.

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Cezanne et moi, is a movie that is a little disjointed in my opinion and although it looks stunning because of the way in which the outside scenes are photographed there is just something missing from it to make it attention grabbing and absorbing, maybe it is me but I would have preferred to watch the movie with no dialogue and just have the sound effects and musical score playing whilst I viewed it as the dialogue just seemed to get in the way, not sure if that makes any sense but hey this is just a personal opinion. The movie begins with an imaginary meeting between two of France’s most notable 19th Century cultural figures the painter Cezanne and the writer Emile Zola, director/writer Daniele Thompson’s period drama stars Guillaume Canet and Guillaume Gallienne as the artist and writer respectively in the leading roles. Set between the year 1888, when the near 50-year-old Cezanne challenges Zola about his novel L’Oeuvre whose main character seemed to be based upon Cezanne or so he thinks. The story is told via several flashbacks which inform us of how the pair first became friends at school in Aix en Provence and went on to be like minded about art and shared the same liking of women. Daniele Thompson’s script keeps things moving along quite briskly whilst focusing upon the differences between the two characters. Zola, for example being born into poverty and longing to become a writer and after doing so eventually joins the rich and the upper class ranks which he used to ridicule in his younger days and Cezanne, who was born with the proverbial silver spoon in his mouth who eventually ends up rejecting that society to concentrate on his painting, which was sadly ignored by that same collective of people until his life was nearly over. I think as well as the cinematography which I have said is astounding and breath taking, the musical score stands out and serves the movie more than adequately. The music is by Eric Neveux and the composer has created a soundtrack that is not only highly melodic and beautifully emotive but he has fashioned one that has to it a life away from the images on screen, it is one of those rare moments in film music where the music can be listened to and enjoyed as an entity of its own, its persona and strong thematic content shining through in every piece, this is an elegant and passionately poignant score a delicate and haunting work which relies upon a romantic and emotional style that seems to invade one’s mind and linger. The composer utilises strings and several solo performances throughout to create a lilting and attractive work that I must say I have returned to on many occasions after the initial listen.

The light and fragile use of piano brings a sense of the romantic to the surface of this score and this element underlined by subdued and melancholy sounding strings, smooth and passive woods and guitar at certain points within the score bring out a sound and a style that is heartrending and affecting. The composer has given us lucky film music collectors a score that is at times impressionistic, richly melodic, deeply emotive and wonderfully symphonic. I don’t like to highlight certain cues within scores as being stand out or more attractive than others, and with this soundtrack I don’t think I can actually do that. Why I hear you say, well because each cue is simply beautiful and is a gratifying and rewarding listen. To say that you must add this to your collection is an understatement. So please just go buy it, no questions…

 

Available on Quartet records (Spain)
1.
Cézanne et Moi – Ouverture (02:33)
2.
Souvenirs d’enfance (01:30)
3.
Paris sous la pluie (01:16)
4.
Émile & Gabrielle (02:39)
5.
La lettre d’Émile (04:03)
6.
Ballade des deux amis (02:07)
7.
La souffrance de Paul (04:54)
8.
Retrouvailles (02:22)
9.
La fin d’une amitié (01:31)
10.
Paul s’en va (06:26)
11.
Cézanne et Moi – Générique de fin (01:39)

FANTASTIC BEASTS AND WHERE TO FIND THEM.

 

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One of the most anticipated movies of 2016 is soon to hit screens in the UK and U.S. FANTASTIC BEASTS AND WHERE TO FIND THEM is yet another addition to the already popular and fantastical HARRY POTTER franchise. Well its the story of Newt Scamander and is set some seventy years before Harry Potter reads his book at school a book that tells of a secret community of Wizards and Witches who frequent New York. Written by J.K. Rowling (who else) and directed by David Yates the movie stars Johnny Depp and Eddie Redmayne as Newt and it set to become one of the biggest box office attractions this Christmas. The musical score which has also been awaited by film music collectors with baited breath is the work of one of cinemas most talented composer, arranger, conductors James Newton Howard. It was many years ago when I first encountered his name on a soundtrack release RUSSKIES was I think my first JNH score on long playing record. This was followed by several others that included, SAIGON, THE MAN IN THE MOON, DINOSAUR, MALEFICENT, PRETTY WOMAN, MY GIRL, THREE MEN AND A LITTLE LADY, FALLING DOWN, WYATT EARP and FLATLINERS to name but a few. His talent as a composer is immense and his ability to adapt to any genre of film and create wonderfully melodic and dramatic compositions which compliment support and enhance each motion picture he is involved with is second to none and that is why he is in such demand. His music can be grand and lavish, poignant and subtle, delicate and mesmerising as well as powerful and hard hitting. FANTASTIC BEASTS is in my humble opinion one of the composers best scores to date, it is a veritable powerhouse of rich and lush thematic material. The score opens with the familiar strains of the principal theme that composer John Williams created all those years ago for the first Harry Potter adventure, HARRY POTTER AND THE SORCERERS STONE in 2001. But this is short lived as Newton Howard launches into a highly dramatic and pulsating central theme that is of his own creation. The theme soon establishes itself and does have that Newton Howard trademark sound, it is vibrant and romantically laced but also has to it an underlying aura which can be unsettling and this lends a touch of apprehension to the proceedings. The composition is led by strings that are fleetingly given more power by choral support, the brass section also take a major role in the piece with thundering percussive elements adding weight to the cue giving it a commanding and powerful musical persona.

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The composer then begins to gradually build his central theme with playful driving strings which although not overpowering are affecting and soon establish themselves as the main stay of the MAIN TITLE alongside subdued brass flourishes. Track number two, THERE ARE WITCHES AMONG US/THE BANK/THE NIFFLER, is as one might expect a rather mystical and magical sounding cue, in many ways I was reminded of the style employed by James Horner in his score for WILLOW, the use of choir is stunning and beautiful with the string section supporting to great effect as the track begins to develop, the composer creates a mesmerising and haunting sound in the opening stages of this cue, this however soon alters as the music shifts into a more comedic sounding piece, with woodwind, strings and subdued use of percussion and brass which act as punctuation rather than taking on the leading role.
Track number three, TINA TAKES NEWT IN/MANCUSA HEADQUARTERS is another delight and certainly oozes with a sense of mischief and grandeur with the composer combining and Elfman like choir with highly melodic strings and jaunty brass. Jumping forward to track number seven INSIDE THE CASE which I think is one of my favourite cues on the release, we are treated to a slow burner at first with Newton Howard opening with a magnificent and lush theme performed by strings and brass and elevated into a crescendo by shimmering and powerful percussion, this then evaporates momentarily with the composer building again until the lush and fully lavish theme returns, but again this is just a brief manifestation of the theme as the composition dips and returns to a more subdued state, with a solo trumpet underlined by rich but low sounding strings and further embellished by faraway sounding horn and a delightful meandering piano solo that seems to skip in and out of the strings and brass in an impish or mischievous fashion. Further woodwind and celeste are brought into the piece as it segues into a rather cheeky sounding theme which although has a somewhat light and comedic atmosphere is also rather unsettling as in the calm before the storm or in this case however, it is the quiet before the full-on eruption of the composition, with the theme raising its head once again, in a very similar fashion to the soaring theme that the composer produced in MALEFICENT FLIES. This is a wonderfully inventive score that is overflowing with a majestic, rich and highly vibrant style and sound, there is something here for every taste and if you listen to this score and say you do not like it, then you cannot be listening to the same recording that I am.

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Just sit and listen to the magnificence and the magical nuances and musical passages in track number 14, RELIEVE HIM OF HIS WAND/NEWT RELEASES THE THUNDERBIRD/JACOBS FAREWELL or track number 15, NEWT SAYS GOODBYE TO TINA/JACOBS BAKERY and tell me you are not inspired, moved and thrilled. The END TITLES too are quite wonderful and contain a sound that evokes the style of Korngold and other Golden age composers. It’s a must have, an essential purchase, so come on you Muggles go get it. It is already a classic.

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Fantastic Beasts and Where to Find Them Original Motion Picture Soundtrack
Music by James Newton Howard.

1. Main Titles – Fantastic Beasts and Where To Find Them (2:54)
2. There Are Witches Among Us / The Bank / The Niffler (6:53)
3. Tina Takes Newt In / Macusa Headquarters (1:56)
4. Pie or Strudel / Escaping Queenie and Tina’s Place (3:05)
5. Credence Hands Out Leaflets (2:03)
6. Inside the Case (9:08)
7. The Erumpent (3:28)
8. In the Cells (2:10)
9. Tina and Newt Trial / Let’s Get the Good Stuff Out / You’re One of Us Now / Swooping Evil (7:59)
10. Gnarlak Negotiations (2:57)
11. The Demiguise and the Occamy (4:06)
12. A Close Friend (1:51)
13. The Obscurus / Rooftop Chase (3:48)
14. He’s Listening To You Tina (2:05)
15. Relieve Him of His Wand / Newt Releases the Thunderbird / Jacob’s Farewell (12:33)
16. Newt Says Goodbye to Tina / Jacob’s Bakery (3:26)
17. End Titles – Fantastic Beasts and Where To Find Them (2:21)
18. A Man and His Beasts (Bonus Track) (8:31)
19. Soup and Leaflets (Bonus Track) (2:19)
20. Billywig (Bonus Track) (1:31)
21. The Demiguise and the Lollipop (Bonus Track) (0:58)
22. I’m Not Your Ma (Bonus Track) (2:04)
23. Blind Pig (Bonus Track) (1:29)
24. Newt Talks To Credence (Bonus Track) (2:13)
25. End Titles Pt.2 – Fantastic Beasts and Where To Find Them (Bonus Track) (1:22)
26. Kowalski Rag (Bonus Track) (5:12)

SOUNDTRACKS AND JAZZ TUNES.

 

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Back in the 1980, s 1986 to be precise, I read a short review on a soundtrack from a movie entitled LA PELICULA DEL REY (A KING AND HIS MOVIE) by composer Carlos Franzetti. The review was short but very positive, so as I was in London that weekend I decided to search for the LP. To my surprise I found it in HMV Oxford street without even having to ask the counter staff. I got it home and it was better than the review had stated. I tried to get it on compact disc but sadly it was deleted very quickly, I think being an Argentinian movie it was something of a rarity in the UK and the soundtrack was probably deemed as being obscure. It is a score I have looked for in recent years and again had no success, then I got Spotify (yep I am a late comer to the Spotify party). I randomly typed in Carlos Franzetti who is the talented composer of this score and to my amazement there it was, but not just LA PELICULA DEL REY but also another score by the composer entitled EVER SMILE NEW JERSEY and a handful of wonderfully attractive and alluring jazz compositions performed by the Carlos Franzetti trio and two outstanding piano performances by Allison Brewster Franzetti. Carlos Franzetti was born on June 3rd 1948 in Buenos Aires Argentina, he began his musical education at the age of 6 when he entered the National Conservatory in Buenos Aires. He later continued his musical education by taking private lessons in piano and then continued to study music in Mexico after relocating to the country in 1970. Four years later Franzetti moved to the United States and graduated from the Juilliard School in New York. Film and television music is just a small part of this versatile and talented composer’s repertoire, he has written symphonies, concerto’s, operas. Chamber music and big band jazz compositions. His piano concerto number 1 and his symphony number 2, Atlantis are in a word magnificent. In 2001 his album TANGO FATAL won the Latin Grammy Award for best TANGO ALBUM. Two years later in 2003 he was nominated for two Grammy Awards, these were for his recording POETA DE ARRABAL which was in the classical crossover category, plus he co-produced Paquito D’ Rivera’s album PORTRAITS OF CUBA. He has also arranged music for THE BOSTON POPS ORCHESTRA, THE BUFFALO PHILHARMONIC and THE BROOKLYN PHILHARMONIC. As well as LA PELICULAR DEL REY and EVER SMILE NEW JERSEY the composer has scored THE MAMBO KINGS (1992) and filmmaker Sidney Lumet’s 1990 movie Q & A alongside many others.

 

ORIGINAL COVER FOR THE LA PELICULA DEL REY LP.
ORIGINAL COVER FOR THE LA PELICULA DEL REY LP.

The score for LA PELICULA DEL REY is stunning, it is a varied and entertaining collection of themes that compliment and support each other as well as enhancing and punctuating the movie, the composer employing an at times jazz orientated approach but at the same time also maintaining an air of the dramatic, the romantic and the symphonic.

The opening cue EL GRAN RODAJE, (track number 6 on the recording) is filled with a style and sound that for me evokes the days of vintage Hollywood, maybe the romanticism of Max Steiner or the rich and opulent style of Korngold when in romantic mode shines through or is certainly hinted at within this excellent piece. I cannot quite put my finger on it, but it has an appeal that is delicately pleasing and purveys a subtle persona, which is haunting and not only pleasant to listen to but sets the scene perfectly for what is to follow. Track number 7, ESPEJOS is the second offering from LA PELICULA DEL REY, I must say this is one of the highlights of the score on a personal level, but there again all tracks from this score are highlights because of their quality and outstanding style and sound. It hints at the style of Morricone with a faraway sounding solo trumpet being utilised whilst being surrounded and enhanced by strings that elevate and give weight to the solo performance creating an almost mysterious sound. The film itself is a comedy, directed by Carlos Sorin, the basic outline is that a Buenos Aires movie director who is rather fond or should I say obsessed with the legend of the King of Patagonia and Araucania decides that he will go to Patagonia to commit this epic tale to celluloid, he is accompanied there by a less than talented acting company. Despite of his lack of funding and beset by various technical problems and all round bad luck he continues his journey to film his obsession, but soon finds he has been deserted not only by the company but also the producer. Franzetti created a marvellously affecting score for the movie which is one of those gems within film music that has been sadly overlooked by many, fans and critics alike.

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Track number 8, CACIQUES, again is dominated by the string section with a fleeting but essential performance on horn which adds an element of loneliness or solitude, the horn solo is expanded upon and as it grows so do the strings gain more prominence, with harp adding depth and emotion to the piece. It is a subdued composition that builds with enticing and teasing fragments of the scores central theme being suggested at throughout. Moving forward to track number 12, MANIQUIES, where we are treated to a more celestial or epic sounding piece, the composer bringing into the equation choir which is supported by the string section and punctuated by woodwind and harp, again I got the feeling of the vintage scores of Hollywood whilst listening to this cue.

 

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The final cue from LA PELICULA DEL REY is MARCHA DEL REY which is stirring and imposing, but also contains a more subdued and poignant sounding section midway through. Going back to that review I told you about at the start of this review, I must agree that this is a triumphant sound which has certain affiliations with the style created by Elmer Bernstein at times. It is a patriotic and certainly proud sound that we hear within this composition. The other soundtrack on this release is from EVER SMILE NEW JERSEY which was another movie directed by Carlos Sorin and starred Daniel Day Lewis as a travelling dentist in Argentina, and featured actress Mirjana Jokovic as a girl that the dentist meets on his travels in his quest to rid Argentina of tooth decay. It must be one of Daniel Day Lewis’s most obscure movies, but is a very entertaining and at times hilariously funny and oddball. Sadly, Carlos Franzetti’s excellent score was removed and not utilised in the finished motion picture, but replaced with an electronic soundtrack. But we are blessed to have it on this recording or at least sections of it. In fact, there are five selections from the score here, all of which are varied and different, it is a mesmerising work that is filled to overflowing with a rich and vibrant collection of themes. The composer making effective use of the string section once again throughout and interspersing this with flawless piano solos that are jazz infused but romantic at the same time, the piano solo is laced and intertwined by restrained and fragile sounding woods which when fused together in this way create a lusciously enticing and attractive sound. The entire album is pure gold and you should add this to your collection as soon as possible.

AN INTERVIEW WITH JAMES FITZPATRICK.

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You have quite rightly so received a number of awards for your work in the production of reconstructed and re-recorded film scores, was setting up Tadlow music something that you had thought long and hard about before initiating it.

When I started Silva Screen Records 30 years ago with Reynold DaSilva I always wanted to try and work towards making new recordings of classic scores. I was first able to achieve this with THE BIG COUNTRY and then LAWRENCE OF ARABIA, but we soon found out how expensive it was to record in London and that you did not totally own each master recording. So I looked around Europe to find an orchestra who could perform classic film scores of Hollywood in the same style as 1940 and 1950 orchestras and came across, after the recommendation of Carl Davis, the Prague musicians.

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So, my first venture into recording in Prague was on Feb 6th 1989 with an album of Music from the Fellini Films by Nino Rota. It was such a joyful experience that I kept going to Prague to do more collections and some complete scores like THE LION IN WINTER, ROBIN AND MARIAN, RAISE THE TITANIC etc.… Silva Screen then decided to concentrate more on recording individual themes for collections rather than complete scores. So, that is when I decided to leave Silva Screen, about 14 years ago, and set up Tadlow Music Ltd. The initial aim was not to have a record label at all, but just produce and contract orchestras for recordings for other labels and for original film, TV and video game soundtracks. But after 2 years of success I did what I vowed not to do, I set up my own new label, Tadlow Music, devoted to making new, complete recordings of some of my favourite scores.

 

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After initially doing THE GUNS OF NAVARONE, TRUE GRIT, THE PRIVATE LIFE OF SHERLOCK HOMES, my dear friend Luc Van de Ven of Prometheus Records wanted to get involved in the same kind of projects. So, for his label I started with titles like THE ALAMO, CONAN THE BARBARIAN, FALL OF THE ROMAN EMPIRE etc.… Luc is fantastic to work for…I give him a budget for each album, he green lights it and just lets me get on with the recording, of which I have total charge, and just awaits the final master. He has never even been to one of my Prague sessions…although he has listened over the internet to sessions.

We first met a number of years ago when you were behind the counter at the much missed 58 DEAN STREET RECORDS where you guided me to buying some wonderful soundtracks on LP, was moving into the business of actually releasing soundtracks even at that time something you were thinking of?

I had always contemplated starting my own record label but never had the funds… but teaming up with Reynold da Silva solved this. So, that by the time I started Tadlow Music I had some finance but more importantly a long list of clients, composers, producers who wanted to work with me on recordings.

 

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I understand that your original career choice was law, so how did you end up being the prolific producer that you are?

I maybe should have gone to University to read law, as my father was a solicitor (famous for having The Moors Murderers as clients!) and my sister is a solicitor. But, after A levels I took a year off exams to work in a record store in Stockport, Cheshire….I enjoyed it so much I moved to a larger record shop in Manchester; Rare Records Ltd of John Dalton Street….and then was “poached” by Derek Braeger of 58 Dean Street Records to run this shop as he knew of my passion for film music.

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You started at Silva screen releasing re-recordings of classic scores such as LAWRENCE OF ARABIA, THE BIG COUNTRY etc., these were all recorded in London I think by the Philharmonia, what made you look outside of the UK for an orchestra?
As answered above: initially mainly cost and the London recordings not be a 100% total buyout…it is essential for any record label to own their own masters so that they can be easily licensed for commercials, film trailers etc.… As CD sales alone do not cover recording costs. But after a few years of building up a great pool of musicians with The City of Prague Philharmonic Orchestra I realised that for many forms of music these musicians are world class and now I would not want to record with anyone else.

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SILVA were I think very brave to release the Hammer compilation and the other horror film music collections such as HORROR and THE JAMES BERNARD compilation, would these be scores that you might revisit and re-record on TADLOW or are they probably not so popular as say EL CID, CONAN etc.?

I do not believe I would ever re-visit scores I have ever recorded with the exception of LAWRENCE OF ARABIA whose London sessions did not go well, and maybe THE BRIDE OF FRANKENSTEIN as I was urged by others at Silva to record with the amateur orchestra The Westminster Philharmonic and I still regret this decision as while being a good amateur orchestra they cannot compete with the quality of a fully professional unit. In fact some of the Hammer scores that David Wishart recorded with them had to be re-done or completed by me with The City of Prague Philharmonic Orchestra.

You said recently that composer Maurice Jarre once said when asked if he ever composed any “SERIOUS” music as in concert music he replied that all of his music was serious music, do you think that in many ways film music is the new classical music or at least will be looked upon in this way in years to come?

You only have to look at the amount of film music concerts there are now to realise that, yes, film music is the popular orchestral music for the public and the best of those scores will be long remembered after the more avant-garde and contemporary compositions of our generation. There is no doubt in my mind that if Mozart, Beethoven, Schubert were alive today, they would all be making a healthy living by composing film scores!

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How do you decide on which score you will re-record, there are so many real classic works that are crying out for a fresh lease of life, is it personal preference to a certain extent?

For Tadlow Music I only ever record scores that I like personally … after all it is my own money I am spending, so choices are my own favourite scores. Commercially it is madness to do a new recording of IS PARIS BURNING? But I love that music….and no one else is going to do it. For Prometheus Records and Luc it is slightly different. I give him a list of various ideas and he chooses titles he either likes or thinks might sell. Before recording for Luc I was not a huge fan of Dimitri Tiomkin….but Luc wanted to record THE ALAMO, FALL OF THE ROMAN EMPIRE and DUEL IN THE SUN. Having worked on all of those and always being 100% committed to ever recording project even if not so keen on the music, I have grown to love and adore Tiomkin’s music even though it is by far the most difficult type of score to record and perform. I did manage to persuade Luc to do QBVII, as another favourite score, and then he added onto those sessions HOUR OF THE GUN and THE SALAMANDER….so recording anything by Goldsmith is both a challenge but very rewarding even though they would not have been my own choices. Luc also wanted to record some are John Barry, so we did MISTER MOSES and THE BETSY, the music being the opposite of Tiomkin, much easier to record and perform but still needing the full commitment of the musicians and Nic Raine to perform with elegance and grace of the scores. We have often spoken about doing Antheil’s THE PRIDE AND THE PASSION, as we both love that score, but it might be financial suicide….so that is on the back burner, unless funding can be found?

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Did Maurice Jarre ever express an interest in recording a complete soundtrack for LAWRENCE OF ARABIA?

After the London debacle of LAWRENCE OF ARABIA we did talk a few times of recording it as how we both wanted it…especially as I had all the original Gerard Schurmann orchestrations. I was just waiting for a time when I had a finances for such a venture… unfortunately Maurice did not live to hear the final results but I am sure he would have been please as he approved other recording I had done of his music.(I was approached at one time by Robert Townson of Vareae about letting him have the original score for a possible recording in Scotland….but I declined his request as I knew from the first time around how difficult LAWRENCE OF ARABIA was to get right and much more session time would be needed than for the average film score! And I did want another shot at it myself as it is the score that ignited my passion for film music.

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EL CID is a wonderful recording on TADLOW was it hard to obtain the funding to bring this project and indeed any of the projects you have undertaken to fruition?

EL CID was a very expensive project. I never get any outside funding, all Tadlow Music CDs are totally funded by me from profits made on the contracting and producing side. As it was such a long score we did have to divide recording sessions over 2 different weeks in a 6 month period (as I had to do with Taras Bulba). It would be lovely to have funding … but no one has ever stepped forward with this. It does really annoy me how after fans will say “Why don’t you record such and such…why did you bother with THE BLUE MAX” etc… My stock answer now is,” I will send you my bank account details if you want to make a £50,000 deposit…I will record any score you want”. So far no one has ever taken me up on this!

After LAWRENCE OF ARABIA I told my long-suffering wife, Janet, “that’s it…no more recordings and using up any spare cash we might have! Let’s go into retirement with something in the bank”. But after a few months I got the bug again to spend money we didn’t really have and do OBSESSION, THE BLUE MAX, VILLA RIDES and others.

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You utilise the talents of Nic Raine as a conductor but you also conduct yourself. Is it sometimes better for you not to take to the podium because you are better placed monitoring the recording?

I am not really a musician and certainly would rather not conduct…I leave that to the experts like Nic and Paul Bateman as well as my Czech conductor friends like Adam Klemens, Richard Hein and Miriam Nemcova. You have much, much more control over the performance of the orchestra, the balance of an orchestra, the recorded sound etc. by producing from the booth rather than waving your arms around with headphones on and the annoyance of the click track. Conducting is a separate art, and even though most fans do not believe me, very, very few film composers were and are particularly good at conducting unless they had a world class American or British session orchestra to help them and the tempo guide of a click track. Of all the composers I have worked with Elmer Bernstein was probably the most naturally gifted and technically correct of conductors. I just do not understand why some of the younger composers I work with want to put themselves through the hell of standing before 70 plus hardened, professional musicians unless they have the right technique and know how to “train” and rehearse an orchestra section. Leave it to the professional conductors…you can have far more fun in the control room … plus you can also interact with the director of the film or the producer and know what their feelings are as the music is being recorded. (This might save a few scores being “rejected” after all the hard work).

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IS PARIS BURNING is one of your recent releases, which is a stunning recording, how long does it take to complete a project such as this, from beginning to end?

IS PARIS BURNING? compared to some other projects was relatively easy to do as Paramount Pictures had kept in storage all of Maurice’s original handwritten scores. So once I got copies of these scores I passed them onto one of my Prague music copyists, Tony Mikulka, to input all the music onto the Sibelius music software programme to produce computer-generated new scores and parts. I received the scores from Paramount in February 2015 and told Tony to start work on the music even though I had not any recording date planned. I was just waiting for a time when I might have the funds. Tony probably took about 3 months to get the music ready….as I told him “no hurry”. Other projects can take an awful lot longer especially if only a few scores survive, or if only sketches, or if nothing exists at all and my orchestrators (someone like Leigh Phillips or Aaron Purvis) must do a “take down” by either listening to the original audio release or the film DVD. This happened with SODOM AND GOMORRAH, so I think I gave Leigh about 7 to 8 months of music prep, and when we knew he was in the final stages I would then set the recording date. For IS PARIS BURNING? I did not expect to record it until late 2016 or 2017 … but dates with the orchestra became available in December 2015 as DUEL IN THE SUN had to be postponed because the music prep on that was taking forever….

FANS OF MUSIC FROM THE MOVIES held its first gathering in London on September 24th (2016). What was your involvement in this and hopefully there will be more?

Tim Smith approached me with the idea. I instantly agreed to sponsor (pay for) the event without realising how expensive it might become as we all got a bit too ambitious! But the first one worked out well, so the second already planned and 5 fantastic composer friends have already agreed to take part.

Are there any scores that have been particularly difficult to re-record and for what reasons?

Tiomkin, Tiomkin, Tiomkin and Tiomkin !

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Do you prefer to concentrate on full scores when re-recording or do you like to produce compilations with various composers involved

Mostly full scores but I loved doing the NOTRE DAME DE PARIS: MAURICE JARRE double CD so that I could record some of my favourite Jarre themes that would never need a full score.

At the FANS OF MUSIC FROM THE MOVIES q and a session, you asked the composers present if they thought film music was an art or a craft, what are your views on this?

As most of them said, a bit of both. If you are a craftsman with the right training the “Art” will then come…. But when it doesn’t there is still the craft to fall back on.

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You have completed the score from THE THIEF OF BAGDAD by Miklos Rozsa, when do you think this will be released and can you give us an insight of what might be to follow on TADLOW? Is there any one score that you would like to record but have not been able too?

THIEF will be released in November. Then DUEL IN THE SUN in Spring 2017. About to record on November 10th and 11th a Jerry Goldsmith CD. With, hopefully!!!, BEN-HUR recording sessions in Spring or Summer next year. After that I have no more projects to hand…so maybe I can finally retire disgracefully, as will be 61 later in December

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