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Cinemagic [Japan] |
FILMZENE Dave Grusin |
japán első megjelenés éve: 1987 57 perc |
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(2014)
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 CD |
Kérjen árajánlatot! |
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1. | On Golden Pond
Main theme from "On Golden Pond"
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2. | New Hampshire Hornpipe
From "On Golden Pond"
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3. | Heaven Can Wait
Main theme from "Heaven Can Wait"
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4. | An Actor's Life
Main title from "Tootsie"
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5. | It Might Be You
Love montage from "Tootsie"
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6. | Fratelli Chase
Main title from "The Goonies"
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7. | The Heart Is a Lonely Hunter
Main theme from "The Heart Is A Lonely Hunter"
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8. | Mountain Dance
Main theme from "Falling in Love"
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9. | Letting Go T.J.'s Theme
From "The Camp"
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10. | The Champ
Main theme from "The Camp"
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11. | Condor
Main theme from
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12. | Goodbye for Kathy
Main title from "Three Days Of The Condor"
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13. | PLO Camp Entrance
From "Little Drummer Girl"
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14. | Epilogue
From "Little Drummer Girl"
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Jazz / Smooth Jazz; Contemporary Jazz; Crossover Jazz
Recorded: Sunset Sound, Los Angeles, California and at A&R Studios, New York, New York
Dave Grusin - Acoustic Piano, Synthesizer, Conductor with The London Symphony Orchestra featuring? Don Grusin - Synthesizer Lee Ritenour - Acoustic Guitar, Electric Guitar Abraham Laboriel - Electric Bass Harvey Mason - Drums Mike Fisher - Percussion Emil Richards - Cymbalon, Percussion Chuck Findley - Trumpet Charlie Loper - Trombone Tom Scott - Soprano Saxophone, Tenor Saxophone Ernie Watts - Tenor Saxophone Eddie Daniels - Clarinet Jeff Miranov - Electric Guitar Rubens Bassini - Percussion Ian Underwood - Synthesizer Ashley Arbuckle - Concertmaster Harry Rabinowitz - Conductor
What needs to be said in a film, and can't be said with words or pictures, is finally said with music. Oddly enough there is more possibility of misunderstanding the words and/or images. Although the music is both more precise and more ambiguous, it is, surprisingly, always clearer. And when it works well it is so braided into the fabric of the film that it it inseperable from the final emotional result....This album is an appetizer, a taste of Grusin's extraordinary musical gifts and imagination. -Sydney Pollack, Exerpted from the liner notes The "cues" that collectively comprise what we call film scores are generated, for the most part, by specific needs and purposes of the film. Sometimes, by themselves, they have very little to do with music in the traditional sense, and more to do with sounds and the emotional effects they produce. Other "cues" have form and content, and can be judged when played alone from a musical perspective. This is the nature of most of the collection of themes chosen to be included in this album. Although their original intent was to evoke specific emotional responses when heard while viewing the film, it is my hope that some of those responses might be reexperienced when listening to the music alone.... -Dave Grusin, "Some notes on the music", exerpted from the liner notes |
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