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THE EDWARD DAVID ZELIFF COLLECTION
https://tinyurl.com/y6whflbq
.
THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 is presented as a limited edition of 500 units.
LISTEN TO A SOUNDCLIP FROM “Beyond The Next Mountain”
https://tinyurl.com/y9xkucj6
LISTEN TO A SOUNDCLIP FROM “The Living Word”
https://tinyurl.com/y72o4efu
LISTEN TO A SOUNDCLIP FROM “EZEKIEL FILE"
https://tinyurl.com/ybxql5o9
2-CD SET includes 24 Bit Wav, MP3 and Digital PDF
Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 , featuring music composed by Edward David Zeliff for several projects from his filmography.
Edward David Zeliff has spent many years in the religious, student, and secular film communities composing and conducting scores for short subjects and features, leading studio orchestras in London and Los Angeles. He is a composer, pianist, arranger, and conductor, having completed his Bachelor of Music in Composition at the California Institute of the Arts, and earning his Masters and Doctor of Musical Arts degrees in Composition from Claremont Graduate University. Dr. Zeliff's catalogue features an extensive collection of choral works that have been performed nationally and internationally by many distinguished ensembles and conductors.
In addition to his vast concert library of choral, piano, solo vocal, instrumental, and orchestral works, Zeliff has composed a handful of film scores, most of them made by and for Christian audiences. THE EDWARD DAVID ZELIFF COLLECTION presents some of these scores for the first time on compact disc.
Released in 1981, BEYOND THE NEXT MOUNTAIN was a feature-length biopic shot on 35mm in remote locations of India, Hawaii, and rural California. The film began its existence with the title UNDER FIRE, for which Zeliff composed, recorded and delivered a completed score. Upon completion, UNDER FIRE sat on the shelf for almost a year until the financiers came to the conclusion it was not reflective of the narrative tone and artistic vision they were ultimately striving for. They replaced the original director, reshot additional footage, and rehired Zeliff to rescore a radically altered cut of the picture. Now called BEYOND THE NEXT MOUNTAIN, the film was quite a departure from its original manifestation, telling the tale of a tribe of hawkish headhunters situated in the eastern mountainous region of India on the border with Burma. Against admonitions from his own government, a British missionary journeys to the area and wielding the Gospel of John, single-handedly converts the tribe to Christianity effectively ending their warmongering ways.
All of the cues Zeliff composed for BEYOND THE NEXT MOUNTAIN were recorded at Abbey Road Studios in London, England by Eric Tomlinson (STAR WARS, 1977; RAIDERS OF THE LOST ARK, 1981). UNDER FIRE was recorded at CTS Studios in Wembley, England by John Richards. Both scores are complete in chronological order based on their appearance in the film.
THE LIVING WORD was a feature length documentary film produced by World Wide Pictures, a film distributor and production company established as a subsidiary of the Billy Graham Evangelistic Association. The producers and director were so impressed with Zeliff’s music for BEYOND THE NEXT MOUNTAIN, they hired him to score their film comprised of exquisitely shot 35mm footage of various Renaissance artworks, landmarks, and locales scattered throughout the Holy Land. A southern preacher narrates various stories related to the Biblical account of each image. Zeliff’s enlightening forty-minute orchestral score, backed by an eight-voice female chorus were recorded together at the same time in the sanctuary of a gorgeous church in Los Angeles, California.
EZEKIEL FILE was a twenty-four minute multi-media presentation put on display at a museum in Israel. Utilizing multiple mediums including projected slides and 16mm film footage, the exhibit included three coordinated projectors—left, center, and right—giving the viewer an immersive aural and visual experience. Zeliff’s music had to be written to sound like one continual piece of music, but was broken up to reflect the various segments of the exhibit.
PILATE’S EASTER was a clever thirty-minute 16mm religious program which the composer refers affectionately as a “church basement” film because it was intended to be shown to religious groups of various Christian denominations as “faith reinforcement” pieces. The presentation of PILATE’S EASTER was told in the style of THIS IS YOUR LIFE. In this spiritual adaptation, PILATE’S EASTER pits Pontius Pilate and his wife Procula against a host who carries them through the trials and tribulations of their lives. Pilate was played by Brian Dennehy early in his acting career. PILATE’S EASTER provided Zeliff with an opportunity to compose a wide variety of different styles of music to support the film.
Both scores for EZEKIEL FILE and PILATE’S EASTER were recorded by Tony Smyles in the fellowship hall of St. Joan of Arc Catholic Church in Los Angeles, California.
Dragon’s Domain Records presents THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1, featuring music composed by Edward David Zeliff presented for the very first time on two compact discs. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by author and composer Brian Satterwhite, with the participation of the composer.
THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 is a limited edition release of 500 units. THE EDWARD DAVID ZELIFF COLLECTION, VOLUME 1 is expected to begin shipping the week of June 26, 2020. Composer Edward David Zeliff will sign the first 50 copies old through the website.
CD ONE
BEYOND THE NEXT MOUNTAIN (1981)
(Original Score)
01. Prelude / Main Title / Into the Hills (4:46)
02. The Jungles of Manipur (1:14)
03. Capture / Pursuit / Interrogation (3:56)
04. Horizons / The Journey Begins (5:00)
05. War Runner I / Silchar / War Runner II (3:43)
06. Nehru’s Gardens (1:37)
07. Letters (1:23)
08. The Journey Continues (3:34)
09. Chicago / The Work Never Ends (5:24)
10. Going to Mr. Youngman /
Memories (3:29)
11. Return to India (2:17)
12. Finale / End Titles (5:48)
UNDER FIRE (1979)
(Original Score)
13. Main Title (1:12)
14. The Child Rochunga (2:52)
15. War Runner (9:23)
16. After The War (3:20)
17. Chicago (2:02)
18. Return to India (2:23)
19. Finale / End Titles (5:05)
Total Time CD 1: 69:18
CD TWO
THE LIVING WORD (1981)
(Original Score)
01. The Living Word Main Title (2:26)
02. Discovery (1:46)
03. Creation / Noah / Abraham (7:34)
04. The People Israel (2:19)
05. Moses / Jericho (5:40)
06. David / Solomon / Babylon (4:35)
07. The Promise and the Child (2:04)
08. From the Child to the Man (3:36)
09. From the Garden to the Cross (3:54)
10. Pietà (0:55)
11. Risen / Spread the Gospel (1:38)
12. The Living Word Finale
and End Titles (3:09)
EZEKIEL FILE
A NEW PROPHECY (1977)
(Original Score)
PART ONE: THE SANDS OF TIME
13. From the Beginning of Time (2:18)
14. A Desert of Ruins and Bones (1:13)
15. A People Without a Home (2:44)
PART TWO: ISRAEL REBORN
16. Enter the Hope (1:21)
17. Enter the People (2:16)
18. Enter the Spirit (2:24)
PART THREE: A NEW THREAT
19. Another Foe (2:27)
20. The Enemies Unite (2:10)
21. Building the Invasion (2:02)
PART FOUR: A NEW HOLOCAUST
22. Atomic War (3:07)
23. A Desolate Land Once Again (2:17)
PILATE’S EASTER (1980)
(Original Score)
24. TV Roll Up / Back In Time / Pilate’s Villa (2:09)
25. Procula and Pilate (3:11)
26. Trial / Deliberation / Judgement (3:05)
27. Doubt and Understanding (3:39)
28. End of Broadcast (0:45)
Total Time CD 2: 77:35
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Interesting. I'll be buying for sure.
Wasn't Pilates Easter nominated as one the best scores of 1981 by Page Cook? IIRC, I thought that it was one of those entirely made up by Cook, as was his occasional way. Of course, those were the pre-internet days.
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Interesting. I'll be buying for sure.
Wasn't Pilates Easter nominated as one the best scores of 1981 by Page Cook? IIRC, I thought that it was one of those entirely made up by Cook, as was his occasional way. Of course, those were the pre-internet days.
You are correct Sir, the late Mr. Cook (aka Charles Boyer) did choose that score as one of the best scores of that year.
This release is dedicated to the memory of Page Cook because it was through him that we contacted with Ed Zeliff all those years ago.
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Interesting. I'll be buying for sure.
Wasn't Pilates Easter nominated as one the best scores of 1981 by Page Cook? IIRC, I thought that it was one of those entirely made up by Cook, as was his occasional way. Of course, those were the pre-internet days.
You are correct Sir, the late Mr. Cook (aka Charles Boyer) did choose that score as one of the best scores of that year.
This release is dedicated to the memory of Page Cook because it was through him that we contacted with Ed Zeliff all those years ago.
Very nice hommage.
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Oh, and while we are at it, is there any chance that you could release Christopher Young's THE POWER in the foreseeable future? I know I have asked before, but circumstances change and perhaps one day...
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Oh, and while we are at it, is there any chance that you could release Christopher Young's THE POWER in the foreseeable future? I know I have asked before, but circumstances change and perhaps one day...
Not a chance in hell....
Chris has made it very clear there are a number of scores from the early part of his career he doesn't want to have reissued in anyway,shape or form.
This is pretty much at the top of that list.
Both Mark Banning and I have talked about this score and several others and let's just say he wasn't thrilled to even discuss the matter.
Ford A. Thaxton
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Posted: |
Jun 17, 2020 - 12:55 PM
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By: |
Bob DiMucci
(Member)
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Interesting. I'll be buying for sure.
Wasn't Pilates Easter nominated as one the best scores of 1981 by Page Cook? IIRC, I thought that it was one of those entirely made up by Cook, as was his occasional way. Of course, those were the pre-internet days.
You are correct Sir, the late Mr. Cook (aka Charles Boyer) did choose that score as one of the best scores of that year.
This release is dedicated to the memory of Page Cook because it was through him that we contacted with Ed Zeliff all those years ago.
Very nice hommage.
In The February 1981 issue of Films In Review, Page Cook wrote that:
"The second best film score of 1980 is the artful, stunning score Edward David Zeliff composed for the intriguing little film PILATE'S EASTER (An Interview with Pontius Pilate). I think Zeliff has a better chance to become one of the major film composers more than any other young composer I know. His love of film and musical comprehension makes him an ideal composer for the medium. His score for PILATE'S EASTER resounds with filmusic creativity and an always richly underpinning keenness of musicianly style and technique. Particularly effective is Zeliff's delineation of contrasting characterizations in his Pilate and Procula themes for this moving score. Simply stated, etched and developed, with the most sparing of means, Zeliff gives a provocative dimension to this "interview" with his solemn, yet melodically delicate, materials"
At that time, Cook's top five scores for 1980 were:
1. CARNY, Alex North
2. PILATE'S EASTER. Edward David Zeliff
3. TESS, Philippe Sarde
4. THE AWAKENING, Claude Bolling
5. THE FINAL COUNTDOWN, John Scott
In that same issue, Cook wrote that "Three intelligent scores that did not make the top five scores of the year were John Morris' sensitive music for the moving THE ELEPHANT MAN, Ernest Gold's lusty scoring of TOM HORN, and Ry Cooder's plaintive Americana for THE LONG RIDERS.
A few years later, however, when Cook released a list of "The Five Best Film Scores of the Years 1958 through 1981," he had had a change in heart about THE ELEPHANT MAN. That score now topped the list for 1980, with the others all knocked down a peg, and with THE AWAKENING and THE FINAL COUNTDOWN sharing the #5 spot. So, PILATE'S EASTER ended up as Cook's third best score of 1980.
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In the case of this release I would urge folks to take a few minutes and listen tot he samples we have provided, These is some really great stuff here that I think fans of GOLDEN AGE scores will quite enjoy.
Ford A. Thaxton
Interesting. I'll be buying for sure.
Wasn't Pilates Easter nominated as one the best scores of 1981 by Page Cook? IIRC, I thought that it was one of those entirely made up by Cook, as was his occasional way. Of course, those were the pre-internet days.
You are correct Sir, the late Mr. Cook (aka Charles Boyer) did choose that score as one of the best scores of that year.
This release is dedicated to the memory of Page Cook because it was through him that we contacted with Ed Zeliff all those years ago.
Very nice hommage.
In The February 1981 issue of Films In Review, Page Cook wrote that:
"The second best film score of 1980 is the artful, stunning score Edward David Zeliff composed for the intriguing little film PILATE'S EASTER (An Interview with Pontius Pilate). I think Zeliff has a better chance to become one of the major film composers more than any other young composer I know. His love of film and musical comprehension makes him an ideal composer for the medium. His score for PILATE'S EASTER resounds with filmusic creativity and an always richly underpinning keenness of musicianly style and technique. Particularly effective is Zeliff's delineation of contrasting characterizations in his Pilate and Procula themes for this moving score. Simply stated, etched and developed, with the most sparing of means, Zeliff gives a provocative dimension to this "interview" with his solemn, yet melodically delicate, materials"
At that time, Cook's top five scores for 1980 were:
1. CARNY, Alex North
2. PILATE'S EASTER. Edward David Zeliff
3. TESS, Philippe Sarde
4. THE AWAKENING, Claude Bolling
5. THE FINAL COUNTDOWN, John Scott
In that same issue, Cook wrote that "Three intelligent scores that did not make the top five scores of the year were John Morris' sensitive music for the moving THE ELEPHANT MAN, Ernest Gold's lusty scoring of TOM HORN, and Ry Cooder's plaintive Americana for THE LONG RIDERS.
A few years later, however, when Cook released a list of "The Five Best Film Scores of the Years 1958 through 1981," he had had a change in heart about THE ELEPHANT MAN. That score now topped the list for 1980, with the others all knocked down a peg, and with THE AWAKENING and THE FINAL COUNTDOWN sharing the #5 spot. So, PILATE'S EASTER ended up as Cook's third best score of 1980.
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Thanks for sharing the Page Cook quotes. I used to read Cook religiously, as he was one of the only critics writing about film music. I remember reading about Zeliff in those days. The samples sound very good, so I have just ordered this and the Howard Blake Agatha. In the past few years I've found that it is so exciting to discover a new composer or musician.
Though I always read Page Cook--I thought he was a woman for the first few years I read him in the sixties--I did not care for his insulting approach to any composer he did not care for, which were many and included Jarre, Barry, Schifrin, Jones, and Morricone, not to mention Hefti, Mandel, and most composers from a jazz or pop background. Yes, I know there were exceptions--Jarre's Pope Joan he loved--and he could write a fair if critical piece: he thought Barry's The Last Valley was creative, but troubling, and went too far when he called Barry "a misanthrope." Really, how did he deduce that?
I also remember searching for an album he spoke about containing Waxman's Story of Ruth and other works
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JESUS CHRIIIIIIIIIIIIIIIIIIIIST
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Thanks for sharing the Page Cook quotes. I used to read Cook religiously, as he was one of the only critics writing about film music. I remember reading about Zeliff in those days. The samples sound very good, so I have just ordered this and the Howard Blake Agatha. In the past few years I've found that it is so exciting to discover a new composer or musician.
Though I always read Page Cook--I thought he was a woman for the first few years I read him in the sixties--I did not care for his insulting approach to any composer he did not care for, which were many and included Jarre, Barry, Schifrin, Jones, and Morricone, not to mention Hefti, Mandel, and most composers from a jazz or pop background. Yes, I know there were exceptions--Jarre's Pope Joan he loved--and he could write a fair if critical piece: he thought Barry's The Last Valley was creative, but troubling, and went too far when he called Barry "a misanthrope." Really, how did he deduce that?
I also remember searching for an album he spoke about containing Waxman's Story of Ruth and other works
I discovered PAGE COOK and FILMS IN REIVEW at my High School Library.
They had issues going back to the 60's and I think I read every column he did for the magazine.
He was the one that brought Edward David Zeliff to my attention and I'll be forever thankful for that.
I'm hoping we do more of Zeliff's work in the very near future, it might only be digital releases, but the music deserves to be released.
Ford A. Thaxton
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Oh my gosh, I just learned about this cd. And what a handsome set it is. Wow, oh, wowee, WOW!!!
I always loved THE LIVING WORD.
And there's only 500. I'm buying mine N.O.W.!
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@ Mr. Ford A. Thaxton: Is there a chance of an eventual re-issue of Invasion of the Body Snatchers?
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Invasion Of The Body Snatchers was composed by Denny Zeitlin. 
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Oh my gosh, I just learned about this cd. And what a handsome set it is. Wow, oh, wowee, WOW!!!
I always loved THE LIVING WORD.
And there's only 500. I'm buying mine N.O.W.!
Has anyone cracked this one open and given it a spin yet?
I'm very fond of this release.
Ford A. Thaxton
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@ Mr. Ford A. Thaxton: Is there a chance of an eventual re-issue of Invasion of the Body Snatchers?
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Just received it in the mail--haven't heard it yet.
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@ Mr. Ford A. Thaxton: Is there a chance of an eventual re-issue of Invasion of the Body Snatchers?
Which one?
if you are talking about the 1978 version, there isn't anything beyond the soundtrack album master that has been released.
Ford A. Thaxton
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@ Mr. Ford A. Thaxton: Is there a chance of an eventual re-issue of Invasion of the Body Snatchers?
Which one?
if you are talking about the 1978 version, there isn't anything beyond the soundtrack album master that has been released.
Ford A. Thaxton
Yes. I'd be quite happy with a remastered edition, along with an expertly written booklet by, say, Mr. Randall D. Larson (who's woefully underutilized IMNSHO).
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