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Posted: |
Sep 1, 2014 - 5:19 PM
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By: |
Morricone
(Member)
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Film music has always dealt with fantasy. For instance when I was a young collector I would fantasize about becoming rich and hiring a big orchestra to play all my favorite film scores I never heard play in concert. I never became rich but I did manage to become comfortable. And the idea that some of my fantasies might still be possible remained.
This one started out with simply me wanting to thank the Golden State Pops Orchestra for IVANHOE, ON DANGEROUS GROUND, THE HOOSIERS, JASON AND THE ARGONAUTS, THE PATRIOT, GHOST RIDER, BATTLE STAR GALLACTICA, THE SHADOW, THE DEADLY MANTIS, THE MOLLY MCGUIRES, THE TEN COMMANDMENTS, CITY SLICKERS and the endless list of other non-standard film music they delivered over the years. So my birthday gifts this year would be contributions to them. And for my party conductor Steven Allen Fox said a couple musicians might be available to play some film music.
My mind began racing on what could be played by 2 musicians and then a nightmare comment from years ago by a FSM poster "I don't go to Jerry Goldsmith for melody!" clarified what I should do. The GSPO had tributes to both Elmer Bernstein and Jerry Goldsmith that de-emphasized their melodic abilities. I wanted a night that proved if these two had wanted, they could have had a melodic (song) career as good as the best of them, the abilities were there. Jerry wrote over 40 songs and Elmer even more.
Steven connected me with his choral director who connected me with Maegan McConnell who had just done SWEENEY TODD IN CONCERT for the GSPO. That and the East-west players, Maria in WEST SIDE STORY and other youtube videos sold me on her sparkling personality and fantastic voice. But how to present this wonderful voice? For this I turned to the man who presents wonderful voices the first sunday of every month (based on tons of CDs he has produced) at The Federal Bar & Grill in North Hollywood, Bruce Kimmel. He put me in touch with arranger-pianist Tom Griep, who I had heard many times at Bruce's shows and already knew was extraordinary. Now all we needed was sheet music for all this fantasy film music, songs most of which were obscure and rare. I had some, but agent extraordinaire Richard Kraft came to the rescue with his amazing collection that went deep and wide. Each song was meticulously crafted and edited to fit Maegan's particular voice and qualities by Tom Griep. Tom also became a miracle worker of sorts when a particular song by Jerry Goldsmith "Tomorrow is the Song I Sing" from THE BALLAD OF CABLE HOGUE had been found unpublished so he found a guy to do a take down of this wonderful jaunty piece. It was presented at my party, probably the first time publicly performed since the film opened.
Also I needed an audience for this specialized show. My friends, all 9 of them, that usually come to my birthday parties just wouldn't do. But I noticed Peter Hackman was having his Fans of Film Music event a week or 2 later, was he going to have a Meet N Greet? Indeed and Chris Young had to bow out this year. So I inherited a ready made film music audience.
Finally after seeing Bruce Kimmel's shows for 4 years I asked if he might be available to intro these songs. He looked at his schedule and found a tiny window after writing a song with Richard Sherman "Two Roads" and producing the soundtrack CD of Alfred Newman's CENTENNIAL SUMMER, and before his 4th anniversary show and getting Neal Hefti's WON TON TON out. He asked how much I could pay, I said nothing and he said "Great ! I need a tax write off". He also booked Guy Haines to sing two Elmer songs LOVE WITH THE PROPER STRANGER and THE GREAT ESCAPE (which Guy detests). But, as gravy, he also supervised the final rehearsal and made each song polished to the point of a brilliant shine. Lastly he listened to what I was going to say as intros and told me "That is way too long, cut it down!" But I said "What do you mean this is only the 6th paragraph!" He said "I don't care. You're talking too much. Shut up already!"
(to be continued with fotos and video)
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Some photos are up at the Facebook page, Fans of Film Music under the folder, 5th Ann. Fans of Film Music Aug.29-31!
ENJOY!!!!
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Posted: |
Sep 4, 2014 - 11:58 AM
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By: |
Morricone
(Member)
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...so after I stopped jabbering, and Bruce got me focused about what I truly wanted to say, we moved on to selecting the songs. BTW I am sharing all this with you because I was absolutely fascinated by the process and as Bruce says the “proess” is everything. So cutting songs was heartbreaking! I had a ton of them so the first round of elimination was what we had sheet music for (including Richard Kraft's stash). After that most important to me was establishing how absolutely melodic these guys were. I wanted people to be humming the tunes afterward as if they had just come from a Rodgers&Hammerstein or Sherman Brothers concert. Also I wanted a sharp delineation between the two composers because both had a distinct style.
Elmer is the only one of my top film composers to have had Broadway shows and BOTH of those were nominated for best score Tonys. Proving their concepts (one about Wall Street, the other was the second musical in a row built around Doug Henning’s magic tricks) may have been ill conceived but Elmer’s music was not. Particularly MERLIN, I couldn’t think of a better opening number than “It’s About Magic”
It’s about magic
It’s about wonder
It’s about “takes your breath away.
Can’t believe your eyes.”
Don’t you love a surprise?
Frankly that’s how I feel about both Elmer and Jerry’s music.
My second Elmer song came from a movie only Bruce Kimmel and I seemed to have seen FROM NOON TILL THREE. I picked “Hello and Goodbye” not just because I think it is one of the loveliest melodies he ever wrote but it blew my mind this one song had to:
Be believably turn-of-the century.
Be simple enough to play on a music box.
The protagonists needed to dance to it.
It had to be flexible enough to be done by Barber Shop Quartets, marching bands and player pianos.
It had to be catchy enough that you would buy that the whole world would be humming it
And all of that was achieved seamlessly with this one simple tune.
To top it all Maegan Mcconnell gave the most beautiful rendition I ever heard (and right in my back yard !).
At some point I wanted one of their James Bond type songs. That would have been either Jerry’s “Zowie Face” from IN LIKE FLINT or Elmer’s THE SILENCERS. When you have a lady who looks like Maegan singing there wasn’t much to think about. She was all over THE SILENCERS and thanks to Bruce, all over me. My wife’s divorce papers are forthcoming.
One priority was to have one song that was instantly recognizable, literally the main theme to a film that everybody knew but not necessarily as a song. I thought THE GREAT ESCAPE was ideal. But I couldn’t give this song to Maegan, it is too gender specific. I did feel however Bruce really could pull it off, bringing the charm out of the song. I thought Al Stillman’s lyrics had a fluffy surface but a poignant undertone. The bone of contention was how contrived are it’s lyrics? Bruce felt very much so to the point of dropping all but the first verse. To his credit he was sweet enough to do the whole thing for me (obviously a birthday generosity).
For the next song it was Bruce’s turn to teach me a lesson. I never cared for the vocal version of LOVE WITH THE PROPER STRANGER. It wasn’t even on my list of ballads to use. The music was always beautiful but the song left me cold. Hearing Bruce sing it revealed why. It is a bit of a lonely song and from Jack Jones to Neil Diamond I never believed they would be looking for love with the proper stranger. Maybe I would have not even have bought it from a young Bruce Kimmel. But his rendition here was so totally vulnerable bringing alive those lyrics “Don’t let her walk through the door” with an ache I have never heard before. Now I get it. Many were surprised by how good a voice he has but I knew that from his many songs he has done in his own shows. This song added another layer to that, brought a tear to my eye, and was already the second one of the evening I believed was better than the original recording.
This is the point we completed Elmer and moved to Jerry but the amount of songs I was asking Maegan to memorize was getting to be formidable. Yet I still fought for them to give Jerry his due. This is where Tom Griep, our pianist, arranger and magician saved my ass. He volunteered to make 2 of these instrumentals. RIO CONCHOS was one of my favorite Goldsmith westerns. The film is practically a remake of THE COMMANCHEROS made 2 years earlier (they shared the same writer) only darker. Since Jerry had no demands made on him based on previous scores (none of his westerns were hits) he did absolute precision themes for his western films. I was amazed how I can actually the femininity in BAD GIRLS or the aftermath flavor of HOUR OF THE GUN. This RIO CONCHOS (where no character was redeemed) had a touch of jaunt and more than a touch of dirge. I hummed it all day after I first saw it and to this day I marvel at it’s craft. How the hell did he do that?
BANDOLERO is in the same category, a dark western. This song, about 2 brothers trying to move past their criminal lifestyle, has a touch of desperation “There’s Got To Be A Better Way”. Goldsmith finds a hint of possible optimism in all this and Maegan expresses it beautifully here. Jerry also was influenced by the opening scene where James Stewart, dressed as a preacher, rides across the desert on a mule.
Then back to the other instrumental for… THE OTHER. Here Bruce brought us back on track because the “song arrangement” was changed into some latin thing! He and Tom brought it back to the haunting waltz I knew and loved. With a tinge of darkness, this is a horror film after all.
This last of the trilogy of western themes was one that didn’t exist on paper so Tom had it reconstructed and another dream came to fruition. “Tomorrow is the Song I Sing” was again used as irony in the BALLAD OF CABLE HOGUE title sequence, as Jason Robards is left to die in the desert. Sam Peckinpah encountered Richard Gillis at the Palomino club and wanted his songs in the film which Jerry integrated and built upon in this lyrical piece that echoes in my head to this day.
You gotta end with the big finish and I couldn’t think of a more crossover item than the ethereal STAR TREK love song “A Star Beyond Time” which Maegan made totally heavenly. Trekkies abounded in the audience, including my wife. For me again, better than any version I ever heard before.
Just in case (wink, wink) we prepared an encore. I went back to Elmer Bernstein for WALK ON THE WILD SIDE. It hit more than 3 charts when it came out, was one of Elmer’s absolute symphonic triumphs AND made for IMHO the greatest title sequence ever done on film. But above all that, Maegan didn’t just bring the house down (thank goodness we were outdoors) but she brought it to church! She made me feel I was a sacred place!
When I get my photos and video I will continue this tribute to Maegan McConnell (upon whose shoulders this whole spectacular night sat), Tom Griep (who made it all work and seems to be a master of all things musical) and Bruce Kimmel the curmudgeon (he has a cap that says so) that apparently has a heart of gold, silver AND lace that he hides very well. Not to mention the GSPO, Jerry Goldsmith and Elmer Bernstein. BTW Thanks you for all your contributions to the GSPO instead of birthday gifts. The final tote came to $537 !
Last but not least I must thank Peter Hackman for having his Meet N Greet combined with my party so these guys would have a proper sized audience. I ask this board’s indulgence as I go on and on about this. But it is one thing to go to the GSPO or the Hollywood Bowl for a concert…and something else again to have a birthday show in your back yard that I would have paid heavy bucks to see somewhere else.
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Sincere thanks, Henry, for a delightful evening. Maegan not only has a beautiful voice but is, herself, rather breathtakingly beautiful. It was a joy to spend that evening with all of you.
Steve
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We all had a grand time - Maegan was great, Tom is always great and the songs were great.
However, I never asked if there was pay for ME, just Tom. I would never ever take money from my pal Morricone - he gives enough money to Kritzerland buying our CDs.
Henry didn't know we were going to involve him in The Silencers - I got the idea at rehearsal and after he left I told Maegan and Tom what I wanted to do and they were all over it, and she, as you've heard, was all over Henry.
And he's right - the sheet music of The Other we had was kind of a bossa nova version - couldn't believe it. Easy to fix, though.
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Posted: |
Sep 6, 2014 - 2:23 PM
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By: |
Morricone
(Member)
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Thanks Henry for doing this, it was a wonderful evening at your house. You even got a few international guests for your birthday party like me and Raul.
Thank you Tobias, and Raul, for being up front and center with Steven Allen Fox, from as far as Sweden and South America, by the pool seats....
...the Garden seats....
...and everywhere in between....
Maegan provided the "magic and wonder".....
Tom Kriep did little miracles on THE OTHER side of the piano......
"Some have a lifetime, some just a day
Love isn't something you measure that way
Nothing's ever forever, forever's a lie
All we have is between 'Hello' and 'Goodbye'"
FROM NOON TILL THREE
Maegan "doesn't use a knife or need a gun because her equipment is a lot more deadly, son" THE SILENCERS
... I am a deer in the headlights...
Our Svengali Bruce Kimmel can't decide between Mabel, Carrie, Daisy, Linda, Hilda or whether he should sing this song at all. THE GREAT ESCAPE
A piece of Bruce's Legacy:
Maegan finds "A Better Way" to sing BANDOLERO
...at no point did Tom "falter and fail" on RIO CONCHOS....
Obviously Bruce heard the bells and the banjos ring on LOVE WITH THE PROPER STRANGER
"Tomorrow is the Song I Sing" from THE BALLAD OF CABLE HOGUE
Finale of "A Star Beyond Time" STAR TREK Maegan and Tom.
Encore "The odds of going to heaven 6 to 1" WALK ON THE WILD SIDE!
...and a thank you to everyone including Jeanne Jones, Peter Hackman and Alan Dull for these pictures.
...and all benefitting Steven Allen Fox....
...and the GSPO....
...to the tune of $517.00...
...and last but not least thanks to the music of Elmer Bernstein and Jerry Goldsmith with all it's colors...
.....flavors....
....and NEVER too many notes....
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Posted: |
Sep 15, 2014 - 12:45 AM
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By: |
Morricone
(Member)
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So this is what it comes down to. As much as I love parties and the camaraderie of it all. it is the music that always excited me the most. I am not saying this show is the best presentation of Elmer’s and Jerry’s scores, but the idea is, while they were writing their scores, they were also writing melodies that could make wonderful songs. And when you have a team like this to present them, they can come across just as powerfully. There were dozens of ther tunes to choose from, and the two composers also wrote dozens of other scores that had melodies that were never considered for songs,, but easily could have been. . All this to say these two masters of all kinds of music had their home base in melody. How many conposers today can say the same thing? I am happy to report that, off the top of my head, Alexandre Desplat’s REINES DU JOUR and Roques Baños LAS TRECE ROSAS would make great songs and they are practitioners of that idea. But they are as rare as Jerry and Elmer were in their day.
Special thanks to Kaya Savas for not just volunteering to shoot and edit this but cleaning it up so we actually see it. And getting this on Youtube,
I should have taken a lighting class.
https://www.youtube.com/watch?v=inxeqLMP5yQ
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