Podcast appearances and mentions of David Raksin

En este mes de julio hubiera cumplido 98 años. Recordamos a Henri Salvador con canciones de sus discos 'Chambre avec vue' ('Chambre avec vue', 'J´ai vu', 'Aime-moi', 'Mademoiselle', 'Vagabond', 'Le fou de la reine' -a dúo con Françoise Hardy-) y 'Révèrence' ('Cherche la rose' -dúo con Caetano Veloso-, 'Les amours qu´on délaisse'). Y recuperamos el último disco de Pat Metheny', 'Moondial', que el guitarrista publicó en julio del año pasado, con piezas propias como 'Shôga' o 'Moondial' y grabaciones en solitario de 'My love and I', de David Raksin y Johnny Mercer', 'Here, there and everywhere', de Lennon y McCartney, o 'Angel eyes' de Matt Dennis y Earl Brent'.Escuchar audio

The Coming Crash. The people and by the people, Americans are going to take the fall when the crash arrives. The American people have been lied to and deceived by the politicians. They said every thing was all right but it wasn't. When the Russian Federation and the European Union sign a treaty for trade and military peace, America's military industrial corporations on Wall Street will take a dive. You see, making a profit by war will have stopped. MUSIC Brian Easdale, Moscow Symphony Orchestra, Carl Orff, David Raksin, John Powell, Roy Webb

In this intriguing episode of "The Rewatch Party," hosts Nick and Anthony take a deep dive into the classic 1944 film noir "Laura," directed by Otto Preminger. The episode begins with Nick and Anthony sharing their initial impressions of the film, discussing its timeless appeal and the reasons it remains a significant piece of cinema history. They set the stage for an in-depth analysis of the movie's complex characters, gripping plot, and stylish direction. As they delve into the rewatchability of "Laura," the hosts examine the film's masterful storytelling and its ability to keep viewers engaged with its twists and turns. They highlight the standout performances, particularly by Gene Tierney as the enigmatic Laura and Dana Andrews as the determined detective Mark McPherson. Nick and Anthony also discuss the film's atmospheric cinematography and its use of shadows and light to create a mood that is quintessential to the noir genre. Throughout the episode, the hosts explore the thematic depth of "Laura," including its commentary on obsession, identity, and the elusive nature of truth. They debate how these themes contribute to the film's enduring intrigue and why it continues to captivate audiences with each viewing. Nick and Anthony also touch on the iconic musical score by David Raksin, which enhances the film's mysterious and romantic undertones, adding to its rewatchability. Whether you're a fan of classic film noir or discovering "Laura" for the first time, this episode of "The Rewatch Party" offers a thoughtful and engaging exploration of its lasting impact. Nick and Anthony provide a comprehensive analysis of why "Laura" remains a standout in the genre, celebrating its artistic achievements and its ability to keep viewers coming back for more. Their discussion highlights the film's unique qualities and its place as a must-watch classic in any movie enthusiast's collection.   https://www.imdb.com/title/tt0037008/

SynopsisOk, if your dad wrote music for silent movies and you want to write music yourself, does that increase the odds you'll end up a film composer, too? That was the case with David Raksin, who was born in Philadelphia in 1912, and who died in Los Angeles on today's date in 2004.When he was 23, Raksin moved to Hollywood to help Charlie Chaplin arrange Chaplin's own music for the film, Modern Times, and stayed on in Hollywood, working without credit on dozens of B-rated films.A big break came in 1944 with the tremendous success of Raksin's haunting score for the 1944 film noir classic, Laura. By the time of his death, Raksin had written scores for hundreds of films and TV shows.In 1960, for the Horn Club of Los Angeles, Raksin wrote Morning Revisited. Raksin explained the odd title as follows: “They needed a piece [for] their entire ensemble … two antiphonal groups of six French horns, four Wagner tubas, a baritone horn, two contrabass tubas, and seven timpani. I was busy working on a picture, so I'd start work at four or five a.m., and that's how I wrote 'Morning Revisited.'”Music Played in Today's ProgramDavid Raksin (1912 -2004) Morning Revisited The Horn Club of Los Angeles; David Raksin, conductor. EMI 63764

Tigran Hamasyan – StandArt Nonesuch | April 29, 2022 1 De-Dah 4:15 2 I Didn't Know What Time It Was 7:13 3 All The Things You Are 5:44 4 Big Foot 7:30 5 When A Woman Loves A Man 4:40 6 Softly, As In A Morning Sunrise 5:45 7 I Should Care 3:49 8 Invasion During An Operetta 2:25 9 Laura 6:27 Bass – Matt Brewer Drums – Justin Brown Piano, Producer – Tigran Hamasyan Saxophone – Joshua Redman (pistas: 4), Mark Turner (2) (pistas: 3) Trumpet – Ambrose Akinmusire (pistas: 7, 8) Written By Ambrose Akinmusire (pistas: 8) Axel Stordahl (pistas: 7) Bernie Hanighen (pistas: 5) Charlie Parker (pistas: 4) David Raksin, Elmo Hope (pistas: 1) Gordon Jenkins (pistas: 5) Jerome Kern / Oscar Hammerstein II* (pistas: 3) Johnny Mercer (pistas: 5, 9) Justin Brown (4) (pistas: 8) Matt Brewer (pistas: 8) Oscar Hammerstein II (pistas: 6) Paul Weston (2) (pistas: 7) Richard Rogers / Lorenz Hart* (pistas: 2) Sammy Cahn (pistas: 7) Sigmund Romberg (pistas: 6) Tigran Hamasyan (pistas: 8) Engineer, Mixed By – Pete Min Mastered By – Nate Wood ////////////////////////////////////////// CORTINA FINAL Old Maps The Call Within Tigran Hamasyan Nonesuch Records | Agosto 28, 2020 ////////////////////////////////////////

Synopsis Today marks the birthday of American composer David Raksin, born in 1912 in Philadelphia. He studied composition with Arnold Schoenberg, was friends with Igor Stravinsky, and has written a wide range of concert music. Yet Raksin is best known for one haunting tune – the theme he wrote for a classic 1944 film noir entitled "Laura." David Raksin said the true story behind this music sounds like something out of a Grade-B movie. The very weekend he faced a deadline and simply had to come up with a theme for "Laura," Raksin says he received a "Dear John" letter from his wife stating she was leaving him. Unwilling to believe she was serious (she was); he stuck the letter in his pocket and tried to lose himself in his work. "By Sunday night," recalled Raksin, "I realized I had a very painful case of writer's block. From the time I was a boy, when the music wouldn't flow, I would prop a book or a poem on the piano and improvise. The idea was to divert my mind from conscious awareness of music-making… I took the letter out of my pocket, put it up on the piano and began to play… and then, without willing it – I was playing the first phrases of what you now know as the 'Laura' theme." Music Played in Today's Program David Raksin (1912-2004) –Theme from “Laura” (New Philharmonia; David Raksin, cond.) BMG/RCA 1490

Released the same year as the better-remembered DOUBLE INDEMNITY (1944), LAURA is an evocative noir that both plays in and interrogates the femme fatale trope so crucial to the genre. In death, Laura Hunt is remembered by the people in her life as kind, beautiful, generous, powerful – just about everything a lover (or a friend, a fraud, or a cop) could ask for. But when the truth comes out, the audience is left to determine how much of the myth is really true, and what elements of Laura's life are being hijacked to serve someone else's narrative. In this episode, we discuss LAURA's focus on possession and ownership of identity, its rhetoric for the end of the American dream as World War II came to a close, and how the film's queer undertones complicate its central, brutal conflict. Check out the other movies in the Trylon's “Murder, She Wrote” series: https://www.trylon.org/films/category/murder-she-wrote/ Listen to Harry's appearance on Film Trace discussing THE FRENCH DISPATCH (2021) and THE ROYAL TENENBAUMS (2001): https://podcasts.apple.com/us/podcast/the-french-dispatch-2021-and-the-royal-tenenbaums-2001/id1518610057?i=1000547290152 Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music: "Main Theme” from the LAURA soundtrack by David Raksin. Timestamps 0:00 - Episode 154: LAURA (1944) 3:19 - A quick round of applause for women 3:48 - The Patented Aaron Grossman Summary 6:46 - Jason's thoughts 13:24 - Cody's thoughts 18:36 - Harry's thoughts 25:16 - Aaron's thoughts 29:30 - What makes Laura a different kind of femme fatale 41:14 - McPherson's internal class tensions 45:05 - Lydecker's struggle to perform traditional masculinity 51:18 - Vincent Price's Shelby Carpenter, the ‘kept man' 56:31 - What Laura and McPherson represent to each other 59:14 - LAURA's warning to noir audiences 1:05:29 - Final thoughts 1:10:47 - Cody's Noteys – Trylove Wordle (not really wordle)

Our annual celebration of film composers is brought to a new level with our guest Steven C. Smith, who conducts us on a tour of great composers--Max Steiner, David Raksin, Bernard Herrmann, and more--and their work on film and on stage.

Synopsis Some classical music snobs look down their nose at film scores, considering them less “serious” than “art” music written for the concert hall. Aaron Copland, for one, deplored this attitude. He admired the work of composers like Bernard Herrmann, Alex North, David Raksin, and Elmer Bernstein, whose successful Hollywood careers earned them financial rewards on the West Coast, if not the respect of the snootier East Coast music critics. Copland himself had spent some time in Hollywood, and knew what was involved in completing a film score on time AND on budget. On today’s date in 1940, at Grauman’s Chinese Theater in Hollywood, the press was invited to a special preview showing of a new film version of Thornton Wilder’s popular stage play “Our Town.” To match Thornton Wilder’s nostalgic play about American life in Grover’s Corners, New Hampshire, Copland’s score employed harmonies suggestive of old New England church hymns. For once, audiences AND the critics were impressed, and Copland quickly arranged an “Our Town” concert suite, which premiered on a CBS Radio broadcast in June of 1940, and reworked this suite for its first public performance by the Boston Pops and Leonard Bernstein in May of 1944. Music Played in Today's Program Aaron Copland (1900 – 1990) Our Town Suite Saint Louis Symphony; Leonard Slatkin, cond. BMG 61699 On This Day Births 1740 - Italian composer Giovanni Paisiello, in Roccaforzata, near Taranto; 1814 - German pianist and composer Adolph von Henselt, in Schwabach,Bavaria; Deaths 1707 - German organist and composer Dietrich Buxtehunde, age c. 70, in Lübeck; 1770 - (on May 9 or 10) English composer, conductor and writer on music Charles Avison, age 61, in Newcastle upon Tyne ; 1791 - American statesman and songwriter Francis Hopkinson, age 53, in Philadelphia; He was one of the signers of the Declaration of Independence, and dedicated a book of his songs to George Washington; 1799 - French composer Claude Balbastre, age c. 72, in Paris; Premieres 1812 - Rossini's opera "La Scala di seta" (The Silken Ladder), in Venice; 1868 - Bruckner: Symphony No. 1, in Linz, composer conducting; 1893 - Rachmaninoff: opera "Aleko," in Moscow at the Bolshoi Theater (Julian date: April 27); 1924 - R. Strauss: ballet "Schlagobers" (Whipped Cream), in Vienna; 1940 - The film "Our Town" opens in Hollywood at Grauman's Chinese Theater; The film was based on the play of the same name by Thorton Wilder, and featured a filmscore by Aaron Copland; Copland arranged a suite of music from his filmscore, which premiered on CBS Radio on June 9, 1940; A revised version of the suite was given its first public performance by the Boston Pops conducted by Leonard Bernstein on May 7, 1944; 1981 - Christopher Rouse: "The Infernal Machine" for orchestra (Movement II of Rouse's "Phantasmata"), at the Evian Festival, France, by the University of Michigan Symphony Orchestra, Gustav Meier conducting; 1986 - Ellen Taaffe Zwilich: "Concerto Grosso" (after Handel's Sonata in D), by the Handel Festival Orchestra of Washington, Stephen Simon conducting; 1988 - Bernstein: "Arias and Barcarolles," at Equitable Center Auditorium in New York City, by vocalists Louise Edeiken, JoyceCastle, John Brandstetter, and Mordechai Kaston, with the composer and Michael Tilson Thomas at the piano; An orchestrated version of this work prepared by Bright Sheng premiered on September 22, 1989, at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; 1990 - John Harbison: "Words from Patterson" (to texts by William Carlos Williams), at the Kennedy Center in Washington, D.C., with baritone William Sharp and the members of the New Jersey Chamber Music Society; 1998 - John Tavener: "Wake Up and Die," for solo cello and orchestral cello section, at the Beauvais Cello Festival in Beavais , France; 1999 - Zwillich: "Upbeat!" by National Symphony, Anthony Aibel conducting; Others 1863 - American premiere of Berlioz's "Harold in Italy," by the Theodore Thomas Orchestra in New York. Links and Resources On the film "Our Town" The Copland Collection at the Library of Congress

Synopsis Some classical music snobs look down their nose at film scores, considering them less “serious” than “art” music written for the concert hall. Aaron Copland, for one, deplored this attitude. He admired the work of composers like Bernard Herrmann, Alex North, David Raksin, and Elmer Bernstein, whose successful Hollywood careers earned them financial rewards on the West Coast, if not the respect of the snootier East Coast music critics. Copland himself had spent some time in Hollywood, and knew what was involved in completing a film score on time AND on budget. On today’s date in 1940, at Grauman’s Chinese Theater in Hollywood, the press was invited to a special preview showing of a new film version of Thornton Wilder’s popular stage play “Our Town.” To match Thornton Wilder’s nostalgic play about American life in Grover’s Corners, New Hampshire, Copland’s score employed harmonies suggestive of old New England church hymns. For once, audiences AND the critics were impressed, and Copland quickly arranged an “Our Town” concert suite, which premiered on a CBS Radio broadcast in June of 1940, and reworked this suite for its first public performance by the Boston Pops and Leonard Bernstein in May of 1944. Music Played in Today's Program Aaron Copland (1900 – 1990) Our Town Suite Saint Louis Symphony; Leonard Slatkin, cond. BMG 61699 On This Day Births 1740 - Italian composer Giovanni Paisiello, in Roccaforzata, near Taranto; 1814 - German pianist and composer Adolph von Henselt, in Schwabach,Bavaria; Deaths 1707 - German organist and composer Dietrich Buxtehunde, age c. 70, in Lübeck; 1770 - (on May 9 or 10) English composer, conductor and writer on music Charles Avison, age 61, in Newcastle upon Tyne ; 1791 - American statesman and songwriter Francis Hopkinson, age 53, in Philadelphia; He was one of the signers of the Declaration of Independence, and dedicated a book of his songs to George Washington; 1799 - French composer Claude Balbastre, age c. 72, in Paris; Premieres 1812 - Rossini's opera "La Scala di seta" (The Silken Ladder), in Venice; 1868 - Bruckner: Symphony No. 1, in Linz, composer conducting; 1893 - Rachmaninoff: opera "Aleko," in Moscow at the Bolshoi Theater (Julian date: April 27); 1924 - R. Strauss: ballet "Schlagobers" (Whipped Cream), in Vienna; 1940 - The film "Our Town" opens in Hollywood at Grauman's Chinese Theater; The film was based on the play of the same name by Thorton Wilder, and featured a filmscore by Aaron Copland; Copland arranged a suite of music from his filmscore, which premiered on CBS Radio on June 9, 1940; A revised version of the suite was given its first public performance by the Boston Pops conducted by Leonard Bernstein on May 7, 1944; 1981 - Christopher Rouse: "The Infernal Machine" for orchestra (Movement II of Rouse's "Phantasmata"), at the Evian Festival, France, by the University of Michigan Symphony Orchestra, Gustav Meier conducting; 1986 - Ellen Taaffe Zwilich: "Concerto Grosso" (after Handel's Sonata in D), by the Handel Festival Orchestra of Washington, Stephen Simon conducting; 1988 - Bernstein: "Arias and Barcarolles," at Equitable Center Auditorium in New York City, by vocalists Louise Edeiken, JoyceCastle, John Brandstetter, and Mordechai Kaston, with the composer and Michael Tilson Thomas at the piano; An orchestrated version of this work prepared by Bright Sheng premiered on September 22, 1989, at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; 1990 - John Harbison: "Words from Patterson" (to texts by William Carlos Williams), at the Kennedy Center in Washington, D.C., with baritone William Sharp and the members of the New Jersey Chamber Music Society; 1998 - John Tavener: "Wake Up and Die," for solo cello and orchestral cello section, at the Beauvais Cello Festival in Beavais , France; 1999 - Zwillich: "Upbeat!" by National Symphony, Anthony Aibel conducting; Others 1863 - American premiere of Berlioz's "Harold in Italy," by the Theodore Thomas Orchestra in New York. Links and Resources On the film "Our Town" The Copland Collection at the Library of Congress

Welcome to another episode of our continuing series of film, TV and video game composer interviews on the CINEMATIC SOUND RADIO NETWORK. Today you get to hear from composer and conductor, Michael McGehee. Michael McGehee is the founder of New Discovery Recordings and conducts the Hollywood Studio Orchestra on these recordings. He earned his degree in Music Composition at the University of Alabama and completed his graduate studies in Film Scoring at the University of Southern California studying under Fred Steiner, Bruce Broughton, Buddy Baker, and David Raksin. He is also a graduate of Earle Hagen’s Film Scoring Workshop and has scored, recorded, and conducted original music for dozens of short films. He is the author of “The Click Track Book”, a technical manual for synchronizing film and music. In 2018 McGehee founded New Discovery Recordings with the mission of recording rare and unknown works by Bernard Herrmann. New Discovery Recordings releases freshly recorded orchestral suites each month at newdiscovery.bandcamp.com. These high-quality audio recordings include ten CRIME CLASSICS radio scores and previously unheard concert music like ANNABEL LEE and THE CITY OF BRASS just to name a few. In January 2021 for the CINEMATIC SOUND RADIO NETWORK, Jason Drury talked to Michael Mcgehee via Zoom at his home in Pasadena, California. During the interview, we talked about New Discovery Recordings, the project’s inception, and the importance of these new re-recordings of the radio music of Bernard Herrmann. During the show, you will also be hear some of these wonderful re-recordings performed by the Hollywood Studio Orchestra. Enjoy! —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Sinónimo de carisma es Kirk Douglas, un actor irrepetible de la historia del cine, como las músicas de gran parte de su filmografía. En esta primera parte nos encontraremos con los compositores Miklós Rózsa, Dimitri Tiomkin, David Raksin, Paul J. Smith y Franz Waxman, en las siguientes películas: El extraño amor de Martha Ivers (Suite) – Río de sangre (Suite). Cautivos del mal (Suite). 20000 leguas de viaje submarino (Suite). La pradera sin ley (Man without a star) – Pacto de honor (Main theme) – El loco del pelo rojo (Suite). Duelo de titanes (Suite). Sintonía compuesta por Curro Martín. Voz de Pablo Silicato.

OK, if your dad wrote music for silent movies and you want to write music yourself, does that increase the odds you’ll end up a film composer, too? That was the case with David Raksin, who was born in Philadelphia in 1912, and who died in Los Angeles on today’s date in 2004. When he was 23, Raksin moved to Hollywood to help Charlie Chaplin arrange Chaplin’s own music for the film, ''Modern Times,'' and stayed on in Hollywood, working without credit on dozens of B-rated films. A big break came in 1944 with the tremendous success of Raksin’s haunting score for the 1944 film noir classic, “Laura.” By the time of his death, Raksin had written scores for hundreds of films and TV shows. In 1960, for the Horn Club of Los Angeles, Raksin wrote “Morning Revisited.” Raksin explained the odd title as follows: “They needed a piece [for] their entire ensemble … two antiphonal groups of six French horns, four Wagner tubas, a baritone horn, two contrabass tubas, and seven timpani. I was busy working on a picture, so I'd start work at four or five a.m., and that's how I wrote ’Morning Revisited.’”

OK, if your dad wrote music for silent movies and you want to write music yourself, does that increase the odds you’ll end up a film composer, too? That was the case with David Raksin, who was born in Philadelphia in 1912, and who died in Los Angeles on today’s date in 2004. When he was 23, Raksin moved to Hollywood to help Charlie Chaplin arrange Chaplin’s own music for the film, ''Modern Times,'' and stayed on in Hollywood, working without credit on dozens of B-rated films. A big break came in 1944 with the tremendous success of Raksin’s haunting score for the 1944 film noir classic, “Laura.” By the time of his death, Raksin had written scores for hundreds of films and TV shows. In 1960, for the Horn Club of Los Angeles, Raksin wrote “Morning Revisited.” Raksin explained the odd title as follows: “They needed a piece [for] their entire ensemble … two antiphonal groups of six French horns, four Wagner tubas, a baritone horn, two contrabass tubas, and seven timpani. I was busy working on a picture, so I'd start work at four or five a.m., and that's how I wrote ’Morning Revisited.’”

En el Blue Note de Tokio han grabado Silvia Pérez Cruz y Marco Mezquida su disco 'Ma' con canciones como las brasileñas 'Asa branca', de Luiz Gongaza y Humberto Teixeira', y 'Estrela, estrela', de Vitor Ramil, la argentina 'Oración del remanso' o la tradicional 'La llorona'. En el mismo lugar, en marzo de 2005, grabaron 'Tokyo Adagio' el contrabajista Charlie Haden y el pianista Gonzalo Rubalcaba con piezas como el clásico de los años 50 de David Raksin 'My love and I' o el bolero 'Solamente una vez'. Y otro dúo, Rosa Passos y Paulo Paulelli, con 'Dunas', 'Águas de março' y 'Só danço samba'. Escuchar audio

Del primer disco del dúo Sambuca, 'Luz', los temas 'Canto de Oxalufa', de Toquinho y Vinicius, 'Luz negra', de Nelson Cavaquinho, 'Ponteio', de Edu Lobo, y 'La javanaise' de Serge Gainsbourg. De otro dúo, Serena Fisseau y Vincent Peirani, y su disco 'So quiet', sus versiones de 'La javanaise' de Gainsbourg y 'Luiza' de Jobim. Y del disco 'Tokyo adagio', grabado en un concierto en Japón, en marzo de 2005, por el contrabajista Charlie Haden y el pianista Gonzalo Rubalcaba, 'En la orilla del mundo', del cubano Martín Rojas, y 'My love and I' de Johnny Mercer y David Raksin. También en Tokio, en 1987, se grabó el clásico 'Stella by starlight' durante un concierto de Chet Baker. Escuchar audio

Welcome to part one a very special edition of THE ARCHIVE on the CINEMATIC SOUND RADIO NETWORK.  Host Jason Drury presents a tribute to the great actor, producer, director, philanthropist and writer, Kirk Douglas who passed away on February 5, 2020, at the age of 103. During this episode, Jason will feature music from some of the memorable films that the actor starred in the 1950's. The show starts with music from THE BAD AND THE BEAUTIFUL by David Raksin, then moves onto selections from the adventure film 20,000 LEAGUES UNDER THE SEA by Paul J. Smith. The show continues with Miklos Rozsa’s dramatic and beautiful score for LUST FOR LIFE and rounds off with the classic western GUNFIGHT AT THE OK CORRAL by Dimitri Tiomkin. Part two coming soon. Enjoy! —— Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Composer Peter Boyer is in town to hear his "Ellis Island: The Dream of America" played by the Pittsburgh Symphony with conductor Andres Franco and actors from CMU. The second performance takes place January 30th at 10:30am. In this interview with Jim Cunningham, he talks about the music and the PBS Great Performances broadcast (available on Passport), plus his work with composers Elmer Bernstein and David Raksin, and his Grammy nominated "In the Cause of the Free" with the Cincinnati Orchestra.  

David Raksin ha pasado a la historia del cine como uno de sus compositores más destacados, aunque sólo fuera por haber escrito la música de Laura, Ambiciosa y Cautivos del mal. En el programa podréis escuchar las siguientes partituras: Laura, Ambiciosa, Kind Lady, Más allá del Missouri, The girl in white, Cautivos del mal, The vintage, Mujeres culpables, Dos semanas en otra ciudad, Sylvia, El más valiente entre mil.

David Raksin ha pasado a la historia del cine como uno de sus compositores más destacados, aunque sólo fuera por haber escrito la música de Laura, Ambiciosa y Cautivos del mal. En el programa podréis escuchar las siguientes partituras: Laura, Ambiciosa, Kind Lady, Más allá del Missouri, The girl in white, Cautivos del mal, The vintage, Mujeres culpables, Dos semanas en otra ciudad, Sylvia, El más valiente entre mil.

On this episode of "The Bad and the Beautiful," Charles and Jeff look at two different approaches to testosterone-driven cinema, from a tentpole blockbuster to an art house auteur. First, Jeff takes a fast look at a furious spinoff, HOBBS & SHAW. Then. both Charles and Jeff take a deep dive into Quentin Tarantino's 9th feature film, first by reviewing ONCE UPON A TIME...IN HOLLYWOOD in depth, then following that with a discussion about gender and ethnic politics in the Tarantino universe. (WARNING: while no specific plot details are revealed, aspects of the ONCE discussion should be considered SPOILERS for the end of the movie.) - FAST & FURIOUS PRESENTS: HOBBS & SHAW, @ 0:57 - ONCE UPON A TIME...IN HOLLYWOOD, @ 6:26 - "Gender & Race in the Tarantino Universe" (discussion), @23:30 - OUTRO / CONTACT INFO, @ 31:27 Music Selections: - Theme Song: "Love Is For The Very Young", David Raksin, THE BAD AND THE BEAUTIFUL - “ Numero Uno Cologne - Radio Ad ”, ONCE UPON A TIME...IN HOLLYWOOD

On this episode of "The Bad and the Beautiful," Charles and Jeff look at a blockbuster cash-grab, plus the latest in art house horror. Disney's live-action remake of THE LION KING is about to hit multiplexes. We debate if Jon Favreau's photo-real redux is a worthy companion to the beloved original, which became an instant classic 25 years ago. Then we summon the courage to go back into the freaky (and visionary) occultic world of writer/director Ari Aster, with his HEREDITARY follow-up MIDSOMMAR. - THE LION KING, @ 0:44 - MIDSOMMAR, @ 14:09 - OUTRO / CONTACT INFO, @ 26:52 Music Selections: - Theme Song: "Love Is For The Very Young", David Raksin, THE BAD AND THE BEAUTIFUL - “Fire Temple”, Bobby Krlic aka The Haxan Cloak, MIDSOMMAR

On this episode of The Bad and the Beautiful, Charles and Jeff talk super heroes and buried horrors. We kick things off by getting lit with DC’s latest entry into their evolving cinematic universe. It’s the superhero movie with a BIG-styled twist, SHAZAM! Then we tether our thoughts to the ongoing conversation about Jordan Peele’s follow-up to GET OUT, the horror / thriller hit US. Plus, Charles talks about the remake of Stephen King’s PET SEMATARY and how it serves as an intriguing companion piece to US. - SHAZAM!, @ 1:05 - US, @ 14:47 - PET SEMATARY, @ 25:31 - UPCOMING / OUTRO / CONTACT INFO, @ 33:42 Music Selections: - THEME SONG: "Love Is For The Very Young", David Raksin, THE BAD AND THE BEAUTIFUL - “Pas de deux”, Michael Abels, US

On this episode of The Bad and the Beautiful, Marvel goes for Girl Power while Ben Affleck and Oscar Isaac lock-and-load for some tragic masculinity. We begin with TRIPLE FRONTIER, the new war movie / heist flick hybrid that just debuted on Netflix. Oscar Isaac and Ben Affleck lead a team of ex-vets turned self-serving mercenaries. They look to raid the jungle compound of a Columbian drug lord where millions in cash are allegedly stashed. The action drama is from director J.C. Chandor (ALL IS LOST, A MOST VIOLENT YEAR, MARGIN CALL), from a screenplay originally developed by the Oscar-winning team of director Kathryn Bigelow and writer Mark Boal (THE HURT LOCKER, ZERO DARK THIRTY). Then, we suit up for the newest edition of the MCU with yet another origin story. CAPTAIN MARVEL is the first female-led adventure for the Marvel franchise, and it stars Oscar-winner Brie Larson (ROOM) along with a digitally de-aged Samuel L. Jackson. Finally, we close with some brief thoughts on how the Oscars did without a host, plus more signs of emerging generational splits in the membership of the Academy. - TRIPLE FRONTIER, @ 0:55 - CAPTAIN MARVEL, @ 21:09 - BELATED POST-OSCAR TIDBIT, @ 38:08 - OUTRO / CONTACT INFO, @ 42:14 Music Selections: - THEME SONG: "Love Is For The Very Young", David Raksin, THE BAD AND THE BEAUTIFUL - “Hooray for Hollywood”, Richard A Whiting & Johnny Mercer

It Might As Well Be Spring.-JAZZANIVERSARIO.-Howard McGhee-1955 - The Return of Howard McGhee.-JAZZACTUALIDAD.-SEBASTIAN CHAMES-REMINISCING THE UNKNOWN MASTER PROG.Nº 601.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “It Might As Well Be Spring” JAZZ RECUERDO ANIVERSARIO. Howard McGhee-1955 - The Return of Howard McGhee Track listing[edit] All compositions by Howard McGhee except as indicated 1. "Get Happy" (Harold Arlen, Ted Koehler) - 3:52 2. "Tahitian Lullaby" - 4:08 3. "Lover Man" (Jimmy Davis, Ram Ramirez, James Sherman) - 2:50 4. "Lullaby of the Leaves" (Bernice Petkere, Joe Young) - 3:22 5. "You're Teasing Me" - 2:15 6. "Transpicuous" - 2:36 7. "Rifftide" (Coleman Hawkins) - 5:37 8. "Oo-Wee But I Do" - 5:11 9. "Don't Blame Me" (Dorothy Fields, Jimmy McHugh) - 3:09 10. "Tweedles" - 3:10 11. "I'll Remember April" (Gene DePaul, Patricia Johnston, Don Raye) - 5:47 Personnel[edit] • Howard McGhee - trumpet • Sahib Shihab - baritone saxophone, alto saxophone (tracks 1, 2, 4-9 & 11) • Duke Jordan - piano • Percy Heath - bass • Philly Joe Jones - drums JAZZ ACTUALIDAD.- Esta semana TENDREMOS A SEBASTIÁN CHAMES CON SU ALBÚM” Reminiscing the Unknown Masters” Ref.: Youkali 165 “Uno de los pilares del nuevo Jazz Español” (ABC) “Sabe más que nadie crear una atmósfera en la que uno se olvida de la realidad. Su jazz moderno es para volar: flotante, envolvente, suave” (El País) “La tradición y la innovación se unen en el jazz de Sebastián Chames…” (El Mundo) “Reminiscing the Unknown Masters” es el título del cuarto álbum del pianista y compositor de origen argentino SEBASTIÁN CHAMES. Grabado, como en anteriores ocasiones, en Nueva York, “Reminiscing…”presenta una nueva formación de quinteto con vibráfono y saxo tenor. Se incorporan para ello dos figuras míticas: Steve Nelson, referente del vibráfono, miembro de las bandas de Mulgrew Miller y Dave Holland y asiduo colaborador de innumerables estrellas como Grant Green o Kenny Barron… y Curtis Lundy al contrabajo, curtido al lado de leyendas como Johnny Griffin, Betty Carter o Pharoah Sanders. Vuelven Greg Tardy al saxo tenor (ex miembro de las bandas de Elvin Jones y de Andrew Hill, con doce discos como líder y un reciente trabajo a dúo junto al mítico guitarrista Bill Frisell) y el prestigioso batería Willie Jones III, ex de las bandas de Cedar Walton y Roy Hargrove y músico de Herbie Hancock, Sonny Rollins, Hank Jones u Horace Silver, entre otros muchos. “Reminiscing the Unknown Masters” incluye diez composiciones, cinco de las cuales son originales deCHAMES: “Missing File In Abuja”; “Adrián The Tiger”, dedicada a su hijo menor; “Broken Swing” escrita para el pianista Andrew Hill, “Non-Binding (Means A Lot)” y “The Landing”. Además, incluye dos arreglos propios de conocidos standards, “Every Time We Say Goodbye” de Cole Porter y “Laura” de David Raksin(tema central de la película de Otto Preminger de igual título). Se incluyen, además, las composiciones “Hidden Light” y “Blues All The Time” escritas respectivamente por Greg Tardy y Steve Nelson, que se han podido escuchar en las actuaciones recientes de estos junto a SEBASTIÁN CHAMES en Madrid, así como una composición de Curtis Lundy titulada “A Brighter Day”, que cierra el disco. Este trabajo se ha presentado por primera vez Madrid en la sala Bogui Jazz y se presentará también el próximo mes de marzo en el legendario “Smalls Jazz Club” de Nueva York y en la Embajada Española en Washington DC.

On this episode of The Bad and the Beautiful, we play some Motorball and place some Oscar bets. We begin by discussing ALITA: BATTLE ANGEL, the sci-fi blockbuster adaptation of the popular manga series, from producer James Cameron and director Robert Rodriguez. Then, Jeff compares and contrasts two February animated releases: HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD, the third and final film in the series, and THE LEGO MOVIE 2: THE SECOND PART. That’s followed with our look at 3-time Academy Award nominee COLD WAR (Foreign Language, Director, Cinematography), from Oscar-winning IDA director Paweł Pawlikowski And in the 2nd half of the episode, Charles and Jeff take a look back at the toxic Awards Season, a look now at where things stand, and a look ahead to who may win Hollywood’s biggest prize. - ALITA: BATTLE ANGEL, @ 0:50 - HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD / THE LEGO MOVIE 2: THE SECOND PART, @ 10:49 - COLD WAR, @ 15:40 - OSCAR SEASON ANALYSIS / PREVIEW / PREDICITIONS, @ 21:38 - OUTRO, @ 46:39 Music Selections: - THEME SONG: "Love Is For The Very Young", David Raksin, THE BAD AND THE BEAUTIFUL - “Hooray for Hollywood”, Richard A Whiting & Johnny Mercer - "Celebrate the Oscars", Hans Zimmer

The beautiful, expressionist and noir-inspired film THE UNDYING MONSTER (1942, Brahm) strikes at the heart of Scream Scene's most dreaded question... is this horror or thriller? Starring James Ellison, Heather Angel, John Howard and Heather Thatcher; this is what happens when 20th Century Fox tries to bring together an old dark house, lycanthropy, and a THIN MAN rip-off. But your hosts are mesmerized by the film's scoring by grandfather of film music David Raksin. Context setting 00:00; Synopsis 25:23; Discussion 32:17; Ranking 55:29

On this first episode for 2019 of The Bad and the Beautiful, Charles and Jeff reveal their choices for the Ten Best Films of 2018. They also review two new films opening in theaters. First, we begin our Ten Best talk by listing and discussing our 10 through 6 choices, in ascending order. Next, we put the lists on pause to discuss M. Night Shyamalan’s GLASS, the conclusion to his UNBREKABLE / SPLIT superhero trilogy, and BURNING, the critically-acclaimed psychological thriller from South Korean director Lee Chang-dong. Then, we go all the way to the top as we reveal our Top 5 picks for 2018 in ascending order. · TOP TEN LISTS, 10 to 6, @ 1:11 · GLASS, @ 22:17 · BURNING, @ 33:45 · TOP TEN LISTS, 5 to 1, @ 37:57 · OUTRO, @ 01:02:23 Music Selections: - THEME SONG: "Love Is For The Very Young", David Raksin, THE BAD AND THE BEAUTIFUL - "Celebrate the Oscars", Hans Zimmer - "Physicks", West Dylan Thordson, GLASS - "Dragon Heart - Finale", Randy Edelman, DRAGON HEART - "Encomium", Nicholas Britell, IF BEALE STREET COULD TALK

Not only is it the face in the misty light, but Laura – and its 1944 score by David Raksin – is the #7 on the AFI’s list! What in Raksin’s personal life helped inspire the famous theme melody? Why was it so bewitching for so many performers, for so many years? And, is it … Continue reading "#20 – Laura"

Bass legend Bunny Brunel has performed and recorded with a “who’s who” list of music industry giants. Notables include Chick Corea, Herbie Hancock, Wayne Shorter, Tony Williams , Jack Dejohnette, Al Jarreau, Natalie Cole, Stevie Wonder, Stanley Clarke, Dizzy Gillespie, Ziggy Marley, Gloria Estefan, Larry Coryell, Al Dimeola, Mike Stern, Joe Farrell, Michel Polnareff and many, many more. www.espguitars.com/bunny-brunelKaylene Peoples is what you call a quadruple threat. She was a runway model and a former Miss California; she is a vocalist with a rare 5-octave range, a multi-instrumentalist, and a prolific composer/arranger/conductor. Kaylene graduated from UCLA with a B.A. in Composition and Ethnomusicology, and completed an elite Masters program in Film Scoring under the direction of Academy Award-winner composer Walter Scharf. She also studied with Academy Award-winner composers David Raksin and Henry Mancini; and has even played piano side by side with Oscar winner film composer Jerry Goldsmith. Kaylene has written and conducted countless string arrangements for record labels, including Capitol Records, Polygram, Warner Bros., EMI, and Universal/Republic. Her dossier doesn’t just stop there. She has written huge bodies of musical works including neo-classical symphonies and composed and conducted a ten-Act ballet titled Apocalitica. Her orchestration skills can be heard on several movie sound tracks, including American Pie 2, Serendipity, Ruby, and her own multi-award-winning feature film she directed, Redemption. She is also an award-winning L.A. Music Awards producer for Best R&B Album of the Year and Best New Artist Christina Fasano’s Spiritually Wet.http://kaylenepeoples.com/

Mød musikelskende filmfolk. Instruktører, skuespillere og andre fra filmverdenen spiller på skift filmmusik, som de har et særligt forhold til. Dagens vært er filmkomponist Søren Hyldgaard, der fortæller om sine tre mentorer David Raksin, Ron Goodwin og Ib Glindemann. Producer Anna Thaulow, Wingman Media.

April in Paris-JAZZANIVERSARIO.-Milt Jackson “Statements”.-JAZZACTUALIDAD.-Jazz Sisters-Babel Ruiz: ‘Las manos de mi madre' PROG.Nº 475.- STANDARD SEMANAL.- “April in Paris”:- -GLENN MILLER. -CHARLIE PARKER. -COLEMAN HAWKINS. -THELONIOUS MONK, grabado en Nueva York el 24-10-1947. -COUNT BASIE,extraída de “April in París, Nueva York el 26-07-1955. -KURT ELLING,extraída de “The Messenger”,Chicago,julio de 1994 a diciembre de 1999 JAZZ RECUERDO ANIVERSARIO.- - Milt Jackson “Statements”(1964)- texto en las semblanzas de AYAX MERINO (periodista de ctxt.es) Comentario: En cuarteto y con dos magnificos pianistas alternandose en la sesion de grabacion (Hank Jones y Tommy Flanagan), el vibrafonista, Milt Jackson, graba para Impulse en 1961, uno de sus discos mas lentos. Lejos del frenetico ritmo que suele imprimir a sus grabaciones, este "Statements" es un canto maravilloso a la balada de jazz. 1. "Statements" (Milt Jackson) – 5:28 2. "Slowly" (Kermit Goell, David Raksin) – 3:02 3. "Thrill from the Blues" (Jackson) – 5:42 4. "Paris Blues" (Duke Ellington) – 2:54 5. "Put Off" (Jackson) – 5:34 6. "Beautiful Romance" (Jackson) – 2:26 7. "Sonnymoon for Two" (Sonny Rollins) – 5:57 8. "Bad and the Beautiful" (Raksin) – 3:07 9. "Blues for Juanita" (Jackson) – 5:38 10. "I Got It Bad (and That Ain't Good)" (Ellington, Paul Francis Webster) – 2:38 11. "Big George" (Jackson) – 4:43 12. "Gingerbread Boy" (Jimmy Heath) – 3:41 13. “Jazz ´n´ Samba” • Milt Jackson – vibraphone • Jimmy Heath – tenor saxophone • Tommy Flanagan – piano • Hank Jones – piano • Richard Davis – bass • Connie Kay – drums JAZZ ACTUALIDAD.- Esta semana tendremos dos novedades, comenzaremos con: Jazz Sisters Ref.: Youkali 112 Cuando dos amigas de toda la vida se encuentran por el camino y adema?s de una gran amistad, comparten profesión y un amor profundo por el Jazz, el Swing y el Blues, lo que surge es una explosión de energía, arte, y vena canalla sin precedentes. Eso exactamente es JAZZ SISTERS. El fantástico dúo vocal formado por dos de las cantantes más inquietas y fascinantes de ultimísima escena jazzística nacional, Susana Ruiz y Yoio Cuesta (junto a sus cómplices de siempre, los FREAKING BROTHERS, Gonzalo Maestre a la Batería, Francisco Loque al Contrabajo, Jacob Sureda al Piano y Roberto Pacheco al Trombón) es el creador, impulsor, y máximo responsable de esta propuesta llena de Swing y Jazz, noctámbula y diferente. Marcada por una embriagadora combinación de fuerza, talento, delicadeza y sofisticación, que solo ellas saben imprimir... Yoio y Susana, JAZZ SISTERS crean un tándem perfecto, un equipo único. Un carrusel de sorpresas y sonrisas. Un cóctel de espontaneidad, talento vocal y humor improvisado. Un viaje al corazón del Swing más “Chic” y más juerguista de los 40 y los 50. Un pellizco para el alma. Un sueño hecho disco. Únicas. 1.- I GOT RHYTHM. 2.- SENTIMENTAL JOURNEY. 3.- RUM AND COCA-COLA. 4.- LET´S CALL THE WHOLE THING OFF. 5.- SWING,BROTHER, SWING. 6.- ALRIGHT,OKAY YOU WIN. 7.- BEI MIR BIST DU SCHON. 8.- GET HAPPY. 9.- IT´S ONLY A PAPER MOON. 10.- SING, SING,SING. Para continuar con: Babel Ruiz: ‘Las manos de mi madre' Músicos: Babel Ruiz (voz, kalimba), Tino Van Ders Man (guitarra, buzuki), Angel Andres Muñoz (piano) Juanmi Guzman (contrabajo), Jose San Martin (batería), Alvaro Maldonado (batería),Youssef Chair (percusión), Rafael Trenas (guitarra española), Diego Ebbeler (piano), Jorge Cerrato (bajo eléctrico) Discográfica: Autoedicion Año: 2016 Estilo: Jazz vocal Babel Ruiz vuelve a sorprendernos. Con su personal voz entre Bebe, Kiko Veneno, Martirio, Albert Plá como ya nos ocurrió con su anterior entrega ‘Numberland' y con su personal visión del mundo. ‘Las manos de mi Madre' que ahora sale al mercado en autoedición vuelve a ser un compendio muy personal del mundo que vivimos visto a través de los personales ojos de la cantante Ceuti. La interesante voz de esta mujer parece provenir de la mezcla del estudio del canto lírico con los cantos marroquíes de su infancia, el estudio del scat y la expresión jazzística. Con una rica coloratura del timbre vocal tan peculiar como expresiva Babel sabe arrastrarte a su mundo y no dejarte indiferente. Este ‘Las Manos de Mi Madre' es su tercer disco. ‘Vuelvo a África' del 2012 fue su primera apuesta con temas inéditos en su totalidad, compuestos y escritos por ella, en una inusual formación de quinteto de jazz con dos guitarras. Estaba dedicado a ‘Los expulsados del paraíso' y obtuvo excelentes críticas. ‘Numberland' del 2013 fue su segundo trabajo original, ofreciendo nuevos temas compuestos y escritos en su totalidad por Babel, en el se acercaba al mundo de la infancia y el autismo. ‘Las manos de mi madre' es el que ahora nos ocupa. En esta ocasión Babel reinterpretará junto a composiciones propias, canciones de la música popular de todo el mundo con un nuevo sonido a cargo de un quinteto con toques étnicos y muy variados. Tino Van ders Man, de Holanda aporta su guitarra española, buzuki y cordófonos orientales, Youssef Chair de Marruecos, darbukas y percusiones varias, José San Martín de origen Uruguayo aporta su batería y los andaluces Juanmi Guzmán y Ángel Andrés Muñoz están al contrabajo y piano respectivamente. Este proyecto vuelve a enfrentarnos a todo lo que es Babel Ruiz y queda muy clarito desde la inicial historia que aparece en el folleto del disco donde nos cuenta la génesis del titulo. A partir de esto y con tu corazón ganado ya viene el despliegue artístico sonoro de este terremoto que tan pronto te hace una can canción argentina por bulerias ‘Las Manos de mi Madre', como un tema senegalés en clave de Jazz ‘Malaka Nakupenda', como se atreve con ‘La Tarara' dándole aires marroquíes. Si aun te queda espacio para la sorpresa puedes escuchar una nana marroquí en clave de ‘buleria-jazz experimental' ‘Berceuse du Monde', como un fado no fado ‘Meu Fado Meu' o un tema brasileño ‘Nem Mesmo Eu' donde se mezcla el jazz con el forro ‘brasileiro'. Babel aporta tres composiciones propias a este magnifico ejemplo de que todavía hay sitio para algo único y diferente, que quizás no sea del agrado de todo el mundo, pero que creo muy necesario en este mundo cada vez mas uniforme. Como ya dije de ‘Numberland': “Estamos ante un disco que merece más de una escucha, sobre todo por sus letras y que sabe traspasar fronteras musicales y estilísticas. Un disco lleno de sentimientos positivos”. I. Ortega

Segunda parte del especial dedicado a la Historia de la Música de Cine, en esta ocasión centrado en la gloriosa década de los años 40. En el programa se hace un recorrido por las grandes figuras del cine norteamericano y europeo, entre las que se encuentran Franz Waxman, Alfred Newman, David Raksin, Dimitri Tiomkin, Dimitri Shostakovich, Brian Easdale, Georges Auric, Joaquín Turina y Manuel Parada.

Segunda parte del especial dedicado a la Historia de la Música de Cine, en esta ocasión centrado en la gloriosa década de los años 40. En el programa se hace un recorrido por las grandes figuras del cine norteamericano y europeo, entre las que se encuentran Franz Waxman, Alfred Newman, David Raksin, Dimitri Tiomkin, Dimitri Shostakovich, Brian Easdale, Georges Auric, Joaquín Turina y Manuel Parada.

Elmer Bernstein (April 4, 1922 – August 18, 2004) was an American composer and conductor best known for his many film scores. In a career which spanned fifty years, he composed music for hundreds of film and television productions. His most popular works include the scores to The Magnificent Seven, The Ten Commandments, The Great Escape, To Kill a Mockingbird, Ghostbusters, The Black Cauldron, Airplane!, and The Rookies. Bernstein won an Oscar for his score to Thoroughly Modern Millie (1967) and was nominated for fourteen Oscars in total. He also won two Golden Globes and was nominated for two Grammy Awards. Introduced by David Raksin. (45:34)

Matthew Sweet considers music written to enhance the character of the movie detective. The Classic Score of the week is David Raksin's 1944 music for Laura which features one of film music's most enduring themes. Also in the programme is music for The Private Life of Sherlock Holmes, Seven Per Cent Solution, The Adventures of Tintin, Dick Tracy, The Maltese Falcon, Devil In A Blue Dress and Murder On The Orient Express. The featured new release is Paul Thomas Anderson's Inherent Vice introducing Thomas Pynchon's LA detective Larry "Doc" Sportello - and a new score by Jonny Greenwood.