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Various Artists - Music From Hollywood (Live) (1963) [Remastered

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 							"A boon for all film music fans everywhere, this rare live recording features many legendary screen composers
(Alfred Newman, Miklos Rozsa, Bernard Herrman, Dimitri Tiomkin, et al.), conducting the themes from their most famous
scores, including How The West Was Won, Ben Hur, North By Northwest, High Noon and many more! This CD version contains
six previously unreleased tracks."
  
  
  
  
  In its original form, this 1964 release by
Columbia Records represents an artifact from another world - one that anyone much under the age of 50 in 2005 would be
hard put to remember. 
  Back in the early '60s, Columbia Records didn't need to have any serious rock
& roll acts on its roster. Not only was it the opinion of A&R chief Mitch Miller and almost everyone else at the
label that rock & roll was a passing fad that the label could afford to pass up, but the fact was that it could
afford to pass it up in those days. They had My Fair Lady, they had The King and I, they had The Sound of Music, cast
albums that were among the top-selling LPs of the previous decade, and to top it off, they had soundtracks such as The
Bridge on the River Kwai, which was icing on the cake as a perennially popular soundtrack since the movie's release
in 1957; and they had Tony Bennett, Johnny Mathis, and Doris Day as top artists in their pop divisions, and a country
division spearheaded by Johnny Cash and Marty Robbins; and a jazz roster that included Miles Davis, Duke Ellington, and
Dave Brubeck; and in folk music they had an upbeat pop-oriented outfit called the New Christy Minstrels, and an upstart
folkie with some potential named Bob Dylan had been signed in 1962; and that isn't even mentioning their classical
roster, the largest in the world. 
  In other words, they were making records for grownups (and teenagers who
anticipated becoming grownups) to enjoy; and Music from Hollywood -- which resulted from a tie-in to a live CBS
Television broadcast of the concert at the Hollywood Bowl, at a time when the network and the label had the same
ownership -- sort of fit into this framework, as the kind of serious pop venture that record companies pursued in those
days, the same way they obligingly released Christmas albums of their top pop and classical artists. 
  As it came
from a live performance, the only real "costs" involved were a live microphone setup and a few hours of an
engineer's time, all in conjunction with the network's broadcast activities, and then whatever went into the
mixing and the cover design and distribution. Columbia was a little light on soundtrack music and this was an array of
some of the best of it, and it had its obvious potential and appeal.
  
  In those days, the business side of
the business mattered, but so did building a catalog, and a commitment to musical excellence that (as had been proved
time and again in Columbia's case) paid off in the long-term if not immediately. Today's bean-counters,
operating in an environment where record companies operate for the profit they generate now -- and exist only to build
up their stats to show that their current owners were brilliant for buying them in the first place or to get huge offers
from potential purchasers (but not to build something permanent and make a contribution to the good of music or the arts
while making a profit) -- where every expenditure has to pay off 200 percent profits (or better) within three months,
would have pegged Music from Hollywood as a guaranteed red-ink entry. And they'd have been right, as it turned out
in 1964 -- too few people took movies, much less movie music, seriously enough in those days to appreciate the
importance of what was on the record, and as great as some of the music was, it all seemed a little too gauche for
serious listeners, or even Broadway enthusiasts, and a little too highbrow for the average moviegoer. But three decades
or more on, what's here now seems not only serious enough as listening material (film music having declined
considerably since 1963) but damned important and even precious on a cultural level. 
  The recording isn't
ideal, some of the microphone placement having emphasized the percussion section at the expense of the strings and
winds, though modern remixing has largely corrected that problem; and there probably wasn't as much rehearsal time
as an orchestra working under more than a half-dozen composer/conductors in a live setting might have needed to get
everything note-perfect. On the other hand, most of these conductors were movie soundstage veterans as were the players
on the stage that night, accustomed to doing first-rate work with minimal preparation, and the live setting seems to
have energized the players, especially the brass section, making up for some ragged sonic moments, so on balance this is
a more-than-worthy effort, and a unique release.
  
  The content ranges from the relentlessly popular,
including Disney tunes and one then-recent chart hit ("Theme from 'A Summer Place'"), to concert instrumental
adaptations of works such as David Raksin's "Laura" and Franz Waxman's suite from A Place in the Sun. Miklos
Rozsa conducts two selections from his then most recent triumph, Ben-Hur, and Dimitri Tiomkin is represented by High
Noon, while Bernard Herrmann does the title track from North by Northwest and "The Memory Waltz" from The Snows of
Kilimanjaro. 
  John Green conducts the "Film Theme Fantasy" of pop hits -- interspersed with Hugo Friedhofer's
title theme from The Best Years of Our Lives -- and his own "Raintree County," and Alex North is represented by two
selections from the most recent of all the films quoted, Cleopatra. 
  The original LP, which ran approximately 45
minutes, contained only part of the live performance -- it languished in record store bins during 1964 and was deleted
by mid-decade, and by the 1980s had become a high-priced collector's item. But in 1991 the original tapes were
retrieved from the vault and it was discovered that the entire live performance had been recorded and was intact. 

 The current CD (issued in 1995) runs over 70 minutes, and contains numerous highlights that were overlooked on the
original LP, including "North by Northwest." (AMG)
  
  
  
  
  This disc assembles some of
the greatest film music of all time in a grand "live" concert setting. 
  Recorded at the Hollywood Bowl in Sept.
1963, originally aired on CBS tv this cd features great film composers conducting some of their most memorable scores in
an open air setting. 
  The digital remastering is top notch complementing the artistic merit of the performances.

  Playing this will transport you back to 1963, you will feel the enthusiasm from selection to selection.
Executive dir./composer John Green had put together a program that I'm not sure has been attempted since. This
"slice and dice" collection of movie gems is far more entertaining than expected. 
  The historic value alone is
worth the modest price! (Customer from Amazon)
  
  
  
  
  
  01. Alfred Newman - How The West Was Won [3:12]
  02. David Raksin - Laura [5:45]
  03. Alex North -
Caesar's Assassination* / Cleopatra's Entrance Into Rome [6:38]
  04. Franz Waxman - Suite From A Place In
The Sun [8:19]
  05. Johnny Green - Raintree Country [6:42]
  06. Johnny Green - Film Theme Fantasy* [8:18]
   a) When You Wish Upon A Star
   b) The Best Years Of Our Lives
   c) Picnic
   d) Exodus
   e)
Around The World In Eighty Days
   f) Hi-Lili, Hi-Lo
  07. Percy Faith - Theme From A Summer Place [2:41]
  08. Bernard Herrmann - The Memory Waltz [4:38]
  09. Bernard Herrmann - North By Northwest* [3:22]
  10.
Dimitri Tiomkin - The Green Leaves Of Summer (Sung By Mahalia Jackson) [4:16]
  11. Dimitri Tiomkin - High Noon*
[5:37]
  12. Miklos Rozsa - Prelude From Ben-Hur [4:01]
  13. Miklos Rozsa - Parade Of The Charioteers*
[3:28]
  14. Alfred Newman - Conquest* [3:56]
  
  
  
  *Previously unreleased
  
 

  Performed by The Hollywood Bowl Symphony Orchestra
  
  Recorded September 25, 1963 at the Hollywood
Bowl, Hollywood, CA 
  Original issue: CS 8913, released: 12/16/63
  
  Mixed and digitally mastered by
Chris Herles, Sony Music Studios, new York
  
  
  Reissue Producer, Liner Notes: Didier C. Deutsch

 
  
  
  Label: Columbia / Legacy / Sony
  Released: 1995
  
  
  
  
 

  
  Codec: Flac
  Compression Level: 6
  Quality: High
  
  
  CD-rip by alekow
(EAC and Flac)
  Covers Included (600dpi)
  
  
  
  
  
  
  
  Enjoy,
Seed and Share 						

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