MEMOIRS OF A GEISHA by John Williams

One of the most anticipated dramas of 2005 has been MEMOIRS OF A GEISHA. The original buzz surrounded the fact that this best-selling novel was being adapted for the screen and that STEVEN SPIELBERG was slated as the director. That, of course, brought hopeful cheers that: one, the film would be worthy of the book and two, that the score would be written by long-time collaborator, JOHN WILLIAMS.

While Spielberg left the project, composer JOHN WILLIAMS stayed on board. Score buzz was heightened by the press release that not only YO YO MA would be featured in the score but also ITZHAK PERLMAN. With successful collaborations of SEVEN YEARS IN TIBET and SCHINDLER'S LIST under their belts, having Williams, Ma, and Perlman on one score was almost too much to hope for.

2005 may not be the strongest of years for clear-cut Oscar winning scores go; however, MEMOIRS OF GEISHA may the first that begs a serious nomination. Almost obligatorily, John Williams work for REVENGE OF THE SITH and WAR OF THE WORLDS will be in the Oscar mix, but MEMOIRS easily sets itself apart from either of these two adequate works. (Of course we've still yet to hear WILLIAMS fourth entry for the year, MUNICH!)

Interestingly enough the score bears some resemblence to moments of Tan Dun's Oscar-winning CROUCHING TIGER, HIDDEN DRAGON (which also featured Yo Yo Ma) but also Shigeru Umebayashi's exceptional score to HOUSE OF FLYING DAGGERS. With these similarities in place, MEMOIRS OF GEISHA might not be heard as distinctly Japanese - which suits the film well in the ironic sense that two of the key female leads are not played by Japanese women at all: Zhang Ziyi and Michelle Yeoh. Still, the performances of Masakazu Yoshizawa on shakuhachi and Masayo Ishigure and Hiromi Hashibe on koto help seal the score as representing this uniquely Japanese tale.

What makes MEMOIRS OF A GEISHA stand out from many of JOHN WILLIAMS more recent works is the fact that it maintains it's strong sense of the Far East throughout...and only on occasion does Williams resort to implementing one of his many signature techniques of his latter career.

For those with an ear for Far-East-flavored scores, MEMOIRS OF A GEISHA is sure to delight. Fans of the work of JOHN WILLIAMS will likely find it a refreshing departure from the norm. As Mr. Williams has continued to "mature" in his compositional style, taking him away from some of the simplicities that made him famous, he has moved on to score more and more films which take advantage of his evolved talents. When all is said and done, MEMOIRS OF A GEISHA may represent one of his finest latter works.

Tracksounds Rating: 8/10

Aeon Flux to be scored by Graeme Revell

According to a press release from the composer's publicist, GRAEME REVELL will provide the score for the much hyped feature-film adaptation of AEON FLUX.

The film, which stars Oscar-winner, Charlize Theron will open on December 2, 2005.

AEON FLUX, the soundtack, is scheduled to be released by Varese Sarabande on December 13, 2005

From the Press Release:

Award-winning film and television composer Graeme Revell has scored the upcoming "Aeon Flux," a sci-fi actioner starring Charlize Theron. Paramount will release the film December 2.
The story is set 400 years in the future, when disease has wiped out the majority of the earth's population except for one walled, protected city-state, Bregna, ruled by a congress of scientists. The story centers on Aeon Flux (Theron), the top operative in the underground 'Monican' rebellion, led by The Handler (Frances McDormand). When Aeon is sent on a mission to kill a government leader, she uncovers a world of secrets.

Revell, whose credits include such feature films as "Sin City," "Lara Croft: Tomb Raider," "The Insider," "The Crow" and "The Fog" recently expanded his career with his video game scoring debut "Call of Duty 2" and "Call of Duty 2: Big Red One." Revell is a New Zealand native whose highly sought-after work is recognizable by its mixture of traditional cultural music, soaring vocals and natural sounds combined with his classical training. The award-winning composer was first recognized by the Australian Film Industry for the score of his freshman film, Dead Calm, when he earned an Australian Film Industry Award for Best Score. Since then he has created music for more than 80 films and television programs. In May of 2005, Revell was awarded the Richard Kirk Award at the BMI Film/TV Dinner, given annually to a composer for his outstanding work and contributions in motion picture and television music.

THE LEGEND OF ZORRO by James Horner

Some seven years ago, THE MASK OF ZORRO took many by surprise in terms of the quality of movie and for soundtrack fans, the quality of the score. THE MASK OF ZORRO is easily one of composer JAMES HORNER'S most entertaining scores of the last ten years.

The rumor of a sequel had been around since the successful 1998 feature film release, but it didn't come to fruition until the Fall of 2005. While this sequel has not garnered the critical or public acclaim as its predecessor, the film does carry on some of the positive aspects of the first film and among them JAMES HORNER'S score.

Maintaning its high-energy, romantic flow, THE LEGEND OF ZORRO is a lively and worthy musical sequel. Without becoming painfully derivative, THE LEGEND OF ZORRO is another adventurous romp that sees the return of the main Zorro theme and the Elena/Love Theme, those flamenco dancers, and tradmark shakuhachi flute accents.

While its hard to pin down what seperates THE LEGEND OF ZORRO from THE MASK OF ZORRO in terms of the score, the clearest way to describe is that THE LEGEND OF ZORRO re-delivers those themes that were developed in the first film in a more mature fashion. The sound seems bigger, bolder, and with more depth than the first. And while I couldn't say it actually surpasses the first, I do have to admit that it I was surprised that it wasn't more of a straight rehash of THE MASK OF ZORRO.

Credit must be given to JAMES HORNER for originally developing themes and motifs that he could quote, rearrange, and expand upon without becoming tiresome.

Tracksounds Rating: 8/10

Superman Returns - Teaser!

SUPERMAN RETURNS teaser hits the internet! Brian Singer's latest superhero project looks like it just may do Superman I and II justice. Given Singer's stellar track-record with X-Men 1 and 2, the teaser gives me even greater confidence that the franchise is in good hands.

The teaser features JOHN WILLIAMS' recognizable fanfare from SUPERMAN: THE MOVIE, "The Planet Krypton." As reported earlier, the score will be composed by John Ottman but will feature John Williams' memorable theme.

The teaser is available in more forms than you can shake a stick at...even for your Sony PSP and IPOD. Unfortunately, no HiDef version yet. More versions here!

Buy the Poster!

Bee Season by Peter Nashel

Composer Peter Nashel's score for the recent film-adaptation of Myra Goldberg's best selling novel, BEE SEASON, is an understated, almost therapeutic listen. The score fits tightly into the genre of film music mastered by contemporary composers such as Thomas Newman, Mychael Danna and Jeff Danna.

The film which touches on several main threads of modern-day society: family-dsyfunction, intellect, and spirituality features an aptly matched score. BEE SEASON is characterized by the abundant use of bells, chimes, plucked strings, dark piano solos, and airy, expansive synths.

What might be considered the score's "spiritual theme" is found in tracks such as What is a Mystic (track 6) and Abulafia's Path (track 9). The theme features the violin a la James New Howard's THE VILLAGE OR SNOW FALLING ON CEDARS.

While the headline track is undoubtedly the opening track, I'll be Near You, performed by IVY, the meat of the soundtrack's character is carried by the film's score. Peter Nashel's BEE SEASON is a solid effort and effective as a unobrusive-listen.

Tracksounds Rating: 6/10

(Sound clips available at Amazon.com)

Hotel Rwanda - Rupert Gregson-Williams

Perhaps known as the "other" Gregson-Williams, Rupert lends a significant hand to the tragic HOTEL RWANDA. The soundtrack as released by COMMOTION RECORDS is dominated by traditional and contemporary African pieces - which were used very well within the context of the film itself. The blend works well both on-screen but rarely does a compilation soundtrack work as well as HOTEL RWANDA does as a stand-alone music experience.

Undoubtedly, RUPERT GREGSON-WILLIAMS' contribution was greater than the two tracks contained on the compact disc, yet the two selections chosen flow well within the context of this release. Both Interhamwe Attack (track 4) and Ambush (track 10) end-up as grungily aggressive action pieces which work within the scenes they accompany.

The real African flavor is provided elsewhere by, among others, the Afro Celt Sound System, Dorothee & Ben Munyaneza, and Isonga. Other noteworthy tracks are Deborah Cox's Nobody Cares (track 05) which is a contemporary, R&B, ballad and two pieces written by Andrea Guerra: Finale (track 9) and Children Found (track 14).

For fans of film music representing the land of Africa, HOTEL RWANDA is a worth consideration. While it is no THE POWER OF ONE (Zimmer) or ENDURANCE (Powell), it provides a much wider sample of the various styles of African music.

Tracksounds Rating: 6/10

Peter Jackson's KING KONG: THE GAME by Chance Thomas

For those of you looking for a little KING KONG media, you should check out the press release below as a few tracks from PETER JACKSON'S KING KONG: THE GAME soundtrack by CHANCE THOMAS has been released. From the sample tracks, it looks as though this will be another decent game score - featuring a wider-than-average range of style: from the tender Anne's Theme to the Bill Brown-esque The T-Rex Cometh!

Press Release

http://www.kongisking.net/ has unveiled its worldwide premier of original music from Ubisoft's upcoming game, Peter Jackson's KING KONG. Fans eager to experience the score can freely download up to sixteen minutes of themes and action music, including four full-length tracks from this link: KongisKing.net. (Click Here)

The wholly original orchestral score for Kong was created by multiple award-winning composer CHANCE THOMAS, the musical force behind VU Games' Lord of the Rings™ series (Lord of the Rings Online, War of the Ring, The Hobbit, etc.) and composer for Columbia Pictures' Oscar™ winning short film, The ChubbChubbs!™.

Chance worked closely with Kong's Creative Director Michel Ancel and other key players to deliver 120 minutes of soaring themes, thundering tribal rhythms, romance, heroism, tragedy, unsettling tension and rousing action. The result is "perfect", according to Ancel who said, "Though we worked on separate continents, Chance was living with us on Skull Island. He has used his talents to create the perfect music for immersing the players in the dramatic story of Kong."

Producer Xavier Poix said, "I love the themes! This is amazing music. Video game creation is about talent and hard work. Chance gave us everything it takes." The live orchestral score was performed by the Northwest Sinfonia and Seattle Chorale, recorded and mixed at Studio X in Seattle, Washington. Thomas, who produced one of the first ever live orchestral scores for a game, Quest For Glory V: Dragon Fire, conducted the orchestra and produced the sessions.
Peter Jackson's King Kong is scheduled for release on all game platforms by Ubisoft in November 2005.

Win Autographed THE LEGEND OF ZORRO by James Horner

You can win an AUTOGRAPHED edition of THE LEGEND OF ZORRO soundtrack! The top 3 captions will win 1 of 3 autographed soundtrack CDs by composer James Horner! Contest ends November 21, 2005

Enter the contest now!

Contest sponsored by SONY CLASSICAL

The Island by Steve Jablonsky

Steve Jablonsky's score for THE ISLAND is just what you might expect given that it is, afterall, a Michael Bay film. Doing a pretty good Trevor Rabin impression, Jablonsky fires off about as many synthesizers and samples as Bay likes to fire off guns and bombs. Thankfully, there was a bit more to this project the the norm. This Bay film surprises in that there is actually some intrigue in the plot while the score does so as well.

Don't look for any ukeleles, steel drums or coconut-percussions here. THE ISLAND is atmospheric in a cold, technological way. One of the first surprises are the rhymes being dropped in the midst of track 7, "Mass Vehicular Carnage." Whether that is a "good thing" or not is dependent upon your disposition towards the hip-hopian culture. I found that it broke up what was becoming a fairly monotonous score.

Now, after coming to the conclusion that there was likely not going to be anything by way of melodic theme anywhere on this soundtrack, I was again mildly jolted. Track 14, "My name is Lincoln" is very satisfying concluding track (as far as the score goes). The track slowly swells until a quick-tempoed rhythm works its way in behind a light chorus. After some 50 minutes of some highly industrial music, this track serves as a rescuing respite. It's too bad there wasn't more of it.

Tracksounds Rating: 4/10

Chicken Little by John Debney

I suppose it could be said that Disney's latest 3D-animated feature film has been of their most anticipated since their split with 3D megastudio, PIXAR. Okay, so it's actually Disney's first effort sans the aforementioned Bay Area studio. So the question floating in the air is "Has the sky really started to fall for Disney?"

CHICKEN LITTLE, the film, seems to ooze with "cuteness" and fun-loving parody...enough that is sure to bring in bug-eyed children thirsty for some Incredible-Monster-like-Nemo-magic, while their parents...well hope for the same.
The soundtrack runs 75% pop, vocal and 25% score. With a total runtime of just under 40 minutes, that means there isn't a whole bunch a score here. What there is of Mr. Versatile, John Debney's, score is about what one would expect for a film like this.

"The Sky is Falling" begins the five tracks of actual score with a rousing, choral romp, while the longest piece, "The Big Game" delivers a slightly patriotic, militaristic note. "Dodgeball" clearly nods to ye ol' school cartoon musical tradition of Warner Brothers. Lastly, CHICKEN LITTLE comes to a somewhat lack-luster close with the tender "Driving with Dad."

The beginning three-quarters of this release offers very little enjoyable music, although I do admit to a small chuckle when listening to Chicken Little's rendition of "We are the Champions." What there is of the score is certainly serviceable, as most John Debney's scores are; however, there is again "little" that helps to cause CHICKEN LITTLE to stand out.

Tracksounds Rating: 4/10