"There's barely 20 minutes of underscore on the film. And...no one seems to claim ownership of the full score or have elements. So all we could do was reissue the Geffen album...."
Ownership/legal issues could still be a problem. But if they get that resolved AND find the music tracks, I want the 20 minutes of Barry's underscore in addition to all the source music! Let's hope it was all stuck in the back of a closet at FFC's house.
The quote seems to talk about the Barry underscore, which is the least of my interests in the music. I want all the Burns and all the Wilber.
"There's barely 20 minutes of underscore on the film. And...no one seems to claim ownership of the full score or have elements. So all we could do was reissue the Geffen album...."
The quote seems to talk about the Barry underscore, which is the least of my interests in the music. I want all the Burns and all the Wilber.
I want it now!
When Roger says "the full score", which he refers to in a sentence apart from the one where he mentions "underscore", I assume that means the full score - y'know, everything, including the source music. Maybe Roger will clarify at some point.
Too bad you have so little interest in Barry's contribution, which I think works splendidly with the recreated period source numbers. Good luck getting the Burns and the Wilbur without the Barry!
Maybe you should listen to some Vince Giordano albums to calm your nerves while waiting to see if there will be an expanded Cotton Club soundtrack. Perhaps "Cotton Club Revisited: Music of the Cotton Club" will do the trick. Here's Mr. Giordano's website: https://vincegiordano.com/music
There isn't a massive amount of original score, but it is my understanding* is that Barry recorded two versions of his score, the first a more symphonic version, and then it was all re-done wuth a more pared-down arrangement at Coppola's request.
So even if there's only 20 minutes of score in the film (probably more than that was written and recorded), you might be able to double that in terms of original and revised version.
(* I honestly can't remember where I first heard that, but I'm pretty sure Barry himself said it.)
Maybe you should listen to some Vince Giordano albums to calm your nerves while waiting to see if there will be an expanded Cotton Club soundtrack. Perhaps "Cotton Club Revisited: Music of the Cotton Club" will do the trick. Here's Mr. Giordano's website: https://vincegiordano.com/music
I recently saw a picture of Vince Giordano in the 1980's. He was darned cute.
It has been many years since I saw this film, but I remember being irritated that most of the "musical numbers" were limited to snippets of a few bars of the tunes in question. I kept wanting to hear more. Of course, the film would have run on and on if my wish had been granted. Which makes me wonder if complete recordings were even made of all the songs that comprise the source music.
"Stormy Weather" has an arranger uncredited on the LP, a name I don't recognize. It is a little timid in the first half, and only gets interesting in the second half.
I know now why I didn't bother seeing the film again since it opened. I didn't like it too much (except for Hoskins and Gwenn, and the source music), until late in the film. The new numbers add little besides length, even though they are handsome, and nicely performed.
And there's also lots of source music that never made it onto the LP, including the unforgettable Sydney Goldsmith squealing "Struttin' wit' Some Barbecue".
I was wrong. It was "Barbecue Bess".
I think the "Barbecue Bess" in this cut is longer!
There is a very informative article by trombonist Dan Barrett, who played in the band Bob Wilbur assembled for the Cotton Club. Barrett was asked to get a valve trombone and play Juan Tizol's solo on "Pyramid." Barrett gives details about the recording sessions, including the constructive input from Barry, who produced the recordings. The article is on the John Barry -- The Man With the Midas Touch site.
