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I remember back in the day when so many scores were still unreleased, how I wanted Goldsmith's ONE LITTLE INDIAN so much. What a thrill it was to finally have a release of it on CD by Doug Fake and his Wonderful INTRADA Team. The score was exciting from the start and it's rich and rousing orchestrations were just awesome. I loved the Main Theme and the secondary gentle and beautiful theme so much that the wacky Camel music, while at first seemed a bit obnoxious, I warmed up to all the same. Nice experimentation for the maestro with it's more exotic sounds and instruments.
Great job Doug and Team and thanks again so very much for this superb treasure!
Unlike you, zoob, I don't care for the "wacky Camel music", which is just throwaway Lawrence of Arabia riffing. Thankfully, there's actually less of it than most people realize. I think it's only one full cue and maybe part of another one or two. When editing that stuff out, I think the score actually shines as the most purely enjoyable album listen of *all* of Jerry's fine western scores. It's just wonderful, and I echo your kudos to Intrada for releasing it (twice!)
Wonder if this was actually the first or one of the first times Disney hired a more "A" list composer for their films? Of course years later they hired John Barry for THE BLACK HOLE and Maurice Jarre for THE ISLAND AT THE TOP OF THE WORLD and other more well known composers for more of their movies.
Uhhhh... what isn't "A" list about Leigh Harline (Pinocchio)? And Disney regulars like Paul J. Smith and Oliver Wallace were also superb composers, even if they never really had a career outside of the studio like Harline did.
For his first three live action pictures in the early 50s (Treasure Island, Robin Hood, The Sword and the Rose), Walt hired British composer Clifton Parker, who was absolutely an "A" list composer at the time for both (British) film and the concert hall. William Alwyn (Swiss Family Robinson, 1960, In Search of the Castaways, 1962) was an even more distinguished British composer, IMO one of the greatest of the 20th century.
Ron Grainer (The Moon-Spinners, 1964) is popular with many here, I know. And I may not love Max Steiner (Those Calloways, 1965) as much as many people here, but surely he counts as an "A" list composer in Hollywood?  So yeah, there were plenty before Goldsmith, even if he's my absolute favorite.
Yavar
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Very nice score, but I also hate the Camel music.
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This is like a Goldsmith doing a Horner score.
I'm always distracted by the many call-outs to other scores by JG when I play it.
Flim-Flam Man, Winterkill, the Indian motif from other JG westerns, Fats' harmonica freak out (Magic) in the comedy stuff.
It all just sounds too over familiar to me.
I enjoy it well enough when I play it, but it's way down the list of stand-out or memorable JG scores.
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