Reminder for the Austin Symphony Jerry Goldsmith concert reported last year. The concert is on Saturday June 8th at 7:30pm at the Long Center. The orchestra went to great lengths to secure rights to perform the music of Jerry Goldsmith. Anyone attending this one?

https://my.austinsymphony.org/moviemusicmagic

Omni Music Publishing announce both Air Force One and The Burbs' as full score books due soon. 

https://omnimusicpublishing.com/

The Mummy full score book due from

https://neumation-music.com/

Teaser on FB. Look out for more details on their site soon.

Jerry Goldsmith concert Japan in August!

Date and time: Saturday, August 17, 2024 Doors open at 16:00 Start at 17:00 Scheduled to end at 8:00 PM
Location: Tokyo Opera City Concert Hall

Includes music from “Star Trek First Contact", "Gremlins", "Air Force One", "Total Recall", and "Alien"

Tickets https://www.filmscorephil.com/

The Jerry Goldsmith Companion Digital editions are now available to backers! I must admit I will prefer holding and reading the actual books when they are printed but this is wonderful to finally get to read Jeff Bond’s epic two volume journey through the maestro’s career.

Leigh Phillips proposed new Goldsmith Project. Vote on the one you would like to see.

Leigh Phillips has emailed all backers with download links for the final GFE scores - My Dark Days and The Committee Man. The download also includes the earlier released Autumn Love CBS library music. A wonderful finale to Leigh’s amazing series. Incredible to own these scores and be listening to Goldsmith history. Thank you Leigh and to the wonderful musicians who brought this music to life.

Leigh Phillips has now released his final General Electric JG scores. Kickstarter backers should have the email with download links.

Leigh Phillips has released his beautiful recording of the rare JG CBS music library piece to backers of the Kickstarter on the occasion of JG’s birth date. The score works beautifully as a suite. Thank you Leigh!

Another Inchon release from Intrada! Improved source! Who will go for this again? I probably will. I can’t help myself.

Coming 2/13.

Intrada FB message from Roger….


Why is Intrada releasing INCHON again?
Intrada has visited Inchon several times since they initially released their first expanded version back in 1988 and each release has sold out owing to the score’s popularity with Goldsmith aficionados. Each release also has its own anomalies, owing to the oft-discussed less-than-ideal recording circumstances that took place in Italy as well as a number of disparate session master elements. Intrada had access to voluminous rolls of tape, including the 1” 8-track masters, which themselves were folded down from the 2” 16-track tapes, numerous ½” 3-track dubdown masters which contained the mixes made for stereo prints of the picture and the ¼” 2-track stereo print masters, which were primarily identified as “safeties” by session engineer Len Engel. We also had both rolls of the original Regency ¼” album masters that included all of the edits that Goldsmith and Engel had out together for the 1982 LP. So that all adds up to a lot of tape!
But each of those formats had audio issues that were compensated for by various means such as the DBX noise-reduction system championed by Inchon’s original recording engineer Engel back in the day, the Aphex Aural Exciter processing unit which he also utilized, and an artificial boosting of the high end to deal with issues on the multi-tracks that likely dated all the way back to the initial 1982 recording sessions and subsequent “dubdowns” made by Engel for the film soundtrack and subsequent record album.
All of our previous releases of Inchon have been assembled and mastered from the various multi-track formats. We have worked with both Goldsmith and Engel’s initial expanded elements that were approved for Intrada’s first release of the score by the composer as well as subsequent remixes for later reissues in which we dropped the Aphex Aural Exciter processing that seemed to create audio issues of its own. The only thing we did not work with were the ¼” stereo safeties, making the same assumption that Goldsmith and Engel had determined: everything in the massive chain of tapes ahead of the safeties would be superior.
But we were wrong. These ¼” mixes were leagues ahead of all the other elements we had gone through. So in all fairness to those two artists who had originally composed, conducted and engineered this powerhouse score, we simply had to go back to square one and reassemble and remaster our last 3-CD release, this time using those ¼” elements and allowing their work to sound better than it ever did before.