#Don Grusin

[genevieveetguy]

. The likelihood of one individual being right increases in direct proportion to the intensity with which others are trying to prove him wrong.

Heaven Can Wait, Warren Beatty and Buck Henry (1978)

[projazznet]

Dave Grusin – Migration

Migration is an album by American pianist Dave Grusin released in 1989, recorded for the GRP label. The album reached No. 1 on Billboard’s Contemporary Jazz chart.

On this diverse and generally interesting (if not essential) CD, keyboardist/composer Dave Grusin performs a five-song suite from his soundtrack of The Milagro Beanfield War along with selections by Harvey Mason, his brother Don Grusin, Hugh Masekela, Marcus Miller and himself. Other than the suite (which has a string section), the music is mostly played by smaller groups, with Branford Marsalis on tenor and soprano a major asset on three songs and flugelhornist Hugh Masekela taking a solo on his own “Polina.” (Scott Yanow/AllMusic).

[hauntingsoundtracks]

The Goonies, directed by Richard Donner

Soundtrack suite by Dave Grusin

00:00 Fratelli Chase

02:31 Lighthouse

03:20 Cellar And Sloth

04:10 The "It" - Fifty Dollar Bills And A Stiff

04:27 Mape And Willie

05:22 Wishing Well and The Fratelli's Find Coin

06:31 Pee Break and Kissing Tunnel

07:50 Plumbing

09:04 They're Here and Skull Cave Chase

10:05 Water Slide and Galleon

10:42 Sloth & Chunk * †

12:19 The Reunion and Fratelli's On Beach

13:16 No Firme and Pirate Ship *

* featuring Theme from "The Adventures Of Don Juan", composed by Max Steiner † featuring Theme from "Superman: The Movie", composed by John Williams

[mynoisycollectionstarlight]

Vocals, Lead Guitar – Gilberto Gil

Synthesizer, Percussion – Sérgio Mendes

Electric Piano [Fender Rhodes] – Don Grusin

Bass – Abraham Laboriel

Percussion – Roberto Da Silva, Steve Forman

Congas, Percussion – Laudir De Oliveira

Drums, Percussion, Timbales – Alex Acuna*

Electric Guitar – Michael Sembello

Backing Vocals – Carol Rogers, Gracinha Leporace, Marietta Waters

--

Design – Mary Francis

Photography By – Norman Seeff

Producer – Sergio Mendes*

Art Direction, Design – Ron Coro

[sheetmusiclibrarypdf]

Listen to Bill Evans album New Conversations (1978)

Listen to Bill Evans album New Conversations (1978)

https://www.youtube.com/embed?listType=playlist&list=OLAK5uy_m_TBTWt4ZH2K3jWOZEzoMg4mVmJEme5TI&v=x1FHhndBdCQ&layout=gallery

Bill Evans, piano poet

Many jazz pianists including the names of Jelly Roll Morton, Duke Ellington, "Fats" Waller, Art Tatum, Earl Hines, Oscar Peterson, Thelonious Monk, Erroll Garner, Irving Berlin , William “The Lion” Smith, Dave Brubeck, Cecil Taylor, Bud Powell, Herbie Hancock, Bill Evans, Dave Grusin, Don Grolnick, McCoy Tyner, Keith Jarrett, Joe Zawinul, Chick Corea, Bill Clayton, Gonzalo Rubalcaba, Bebo Valdés, Chucho Valdés, Diane Krall or Norah Jones, who made significant contributions in each of the modalities that they had to assume in the historical development of jazz, since the days of gospel. It is not possible to say who of the jazz pianists in the 20th century was the most influential, since in each and every one of the modalities there have been masters and virtuosos. On this occasion, I will refer to one of them, who made a special lyrical contribution within a new romantic spirit of the piano in the 20th century: Bill Evans. I choose him because I see him located within a sensibility close to a poetry of a sentimental nature, with a slowness that we could call exquisite, which, in my opinion, constitutes a personal piano mark in the last century, where he was accompanied by some of the most notable jazz musicians, in a very remarkable spirit of interior recollection and experimentation.

The intense life of Bill Evans Bill Evans was born in New Jersey in 1929. From the age of six, he was already studying violin and piano at a classical academy. After becoming acquainted with well-known pianists from the European tradition, he became interested in jazz and began playing in some New York venues and clubs in the early 1950s. Bill Evans soon met Cannonball Adderley, George Russell and Miles Davis, with whom he became friends to achieve new contributions to the genre, although he was already influenced by previous master pianists such as Bud Powell and Horace Silver, whom he assimilated to later fully enter the inaugurated bebop by Charlie Parker and Miles Davis. In 1956, he made his first relevant recording, New Jazz Conceptions , where he defined his proposal within dense poetic spheres, and a very personal harmonic concept, based above all on a series of subtle melodic flows, on refined harmonic advances that soon had a very significant echo. in those years, and continued to expand among the new pianists of the new generation. Bill Evans prefers chamber music, trios, solos, seclusion and lyrical atmospheres, which is why for me, he becomes a poet of the instrument, following the historical line of the great classical romantics such as Liszt and Chopin, Schumann or Beethoven. His main expressive vehicle was the trio and solo recordings and performances. In 1963, he recorded the album that would bring him full recognition, Conversation with myself , where he uses the technique of recording on double tracks and at the same time making solo recordings on several tracks. Do not think for that reason that Bill Evans is an individualist. He began by building a trio with Scott LaFaro (double bass) and Paul Motian (drums) that soon established itself in the jazz world with great prestige. Shortly after, the double bassist LaFaro died in a car accident in 1961, for which the trio dissolved. However, other performances with trios were organized at the Village Vanguard in New York, which were among the most notable in the history of jazz. Bill Evans continued with other musicians such as Eddie Gómez and Gary Peacock, to establish a unique style in jazz of those years that was followed by other musicians, as well as accompanying vocalists such as Tony Bennett; he seeks new ways to achieve intimacy in his music, by inviting guitarist Jim Hall to record his, or experimenting with symphony orchestras. In addition, he was always trying to introduce a series of seemingly imperceptible melodic modifications into classic jazz pieces, which in the long run earned him a great reputation. He relied on a few musicians: one of them, a jazz giant, Miles Davis, with whom he recorded one of the albums considered jazz tops. Upon meeting Davis, he radically changed the way he played in intimate settings. He composed a song entitled "Blue in Green" with it; him later participating in one of the records that would become benchmarks for jazz of all time, Kind of Blue , where the personnel consists of Cannonball Adderley on alto sax, John Coltrane on tenor sax, Wynton Kelly and Bill Evans on piano; Paul Chambers on bass and Jimmy Cobb on drums. From the age of six to twelve, Bill Evans played an immense number of classical music themes, in a repertoire that includes everything from works by Bach and Beethoven to Béla Bartók. There are just five pieces that last longer than normal: “So What”, “Freddy Farrell”, “Blue in Green”, “All Blues” and “Flamenco Sketches”. The atmosphere achieved on this album constituted another of the great records of cool , which allowed all these musicians to generate various possibilities to explore in jazz musing. I once said that Miles Davis is perhaps the most introverted sound in jazz, and now I say that Bill Evans is the most introverted piano sound in jazz. His individual brand is lyrical, and I would like now to have enough elements of musicology to argue where his innovations lie. He experimented with the electric piano (Fender), although his greatest achievements lie on the acoustic piano. It could be said that Evans, like Federico Chopin, makes the piano sing, if we take into account that the human voice is the highest musical instrument: what the instruments do is prolong or express that voice, transfer it to a sound device to capture human sentiment. In the case of Bill Evans, his modulations are so extraordinary that they could well be close to a new musical romanticism, the one that we find so close to North American and Latin-American sensibility. Some marks of his style Bill Evans studied at the Marine School of Music in New York and at South Easterns Louisiana College. From a very young age he began his practices with the piano; from the age of six to twelve he played an immense number of classical music themes, in a repertoire that includes everything from works by Bach and Beethoven to Béla Bartók, so that he was soon freed from what could be called “technical problems”. The main issue to resolve in any case was “to think about how to produce what I think”, according to his own words. He got a degree in piano when he was in the army at twenty, and then he went to New York at about twenty-five; at that time he returned to practice with the classics until he met the aforementioned musicians Scott LaFaro and Paul Motian, with whom he recorded New Jazz Conceptions in 1956. That same year he would record his second album, Tenderly, An Informal Session , where the participation of Don Eliott on vibraphone; In the year 1958 the album appeared that as soon as I heard it I turned it into one of my personal piano icons: Everybody Digs Bill Evans , who revealed to me not only his skill on the instrument, but also his peculiar stamp on interpretation. It initially consists of ten pieces, where Evans undertakes four of them solo and the remaining six are accompanied by Sam Jones on bass and Philly Joe Jones on drums. "Lucky to Be Me", a classic American piece (by Camden-Green-Bernstein), is treated, like "Epilogue" and "Peace Piece" —both by Evans himself—, with all the subjective power of the pianist and language that will define him from now on as a piano poet. Here the musician doubles as a creator, throws himself into his art with a superb sense of harmonic invention and a remarkable ability to work with long melodic structures: in "Peace Piece", in effect, it is about these types of structures. He's not very interested in the percussive aspects of the piano—as Earl Hines and Thelonious Monk might be, for example—but in developing long melodic lines through clear, clean technique. It is interesting how on this album he takes up the song "Epilogue" in another version that evidently closes this part; while in “Minority” and “Night and Day” (Cole Porter's famous standard ), Evans exhibits all his power of suggestion; the same when he turns to “Tenderly”, another of the canonical themes of American music. From Walter Gross, "What Is There To Say?" is another piece that lends itself to a lyrical approach, where Evans moves at ease, avoiding all the difficulties of an apparently simple style due to its intrinsic quality, but tremendously difficult in phrasing. It is precisely in these long pauses that he needs to be accompanied by the rhythms of percussion and bass, in this case assumed by musicians Sam Jones on bass and Philly Joe Jones on percussion. A month later, the following year, in January 1959, other trio sessions were held where Sam Jones's bass was covered by Paul Chambers, with equally excellent results. The new recording includes only six pieces, eloquent enough to capture all of Evans' magnetism displayed above all in long pieces like “You and the Night and the Music” (more than seven minutes), where all of his lyricism takes flight; the other Rodgers and Hart's standard is “My Heart Stood Still”, to then culminate in the longest of all, over eight minutes long, “On Green Dolphin Street”, which, with the two takes of “Woody and You”, they end up rounding off a balanced, almost perfect album.

Of course, the purpose of this chronicle is not to discuss Bill Evans' albums one by one. I did it with this one because I owe him the knowledge and enjoyment of this musician, whose existence passed between constant musical work and the permanent stalking of drugs. Apparently, drug use dominated a good part of his life. Since he was young he tried several times to get rid of them, but family, affective and cultural circumstances constantly haunted him and subjected him to a dependency that also served to connect him more with the abstract world of sounds, safely transporting him to other territories where feeling musical reached radical degrees, sublime perhaps, where he took refuge to achieve such peculiar chords. Indeed, cocaine, heroin and alcohol led him to paradises that later made him pay his dues of hell and nightmares. Added to this were the deaths by suicide of his brother Harry and his wife, which made him hypersensitive. Metamorphosis of genius It is impressive to see how Bill Evans went from being a dapper young man in a formal suit, clean-shaven and with an impeccable haircut, to someone twenty years later: long hair, a beard, a lean face, and a series of physical ailments such as insomnia, anxiety, lack of appetite. , physical weakness and nervous exhaustion, which were undermining his health to the point of leading him to states of severe nervous depression. Bill Evans had apparently picked up a drug habit ever since he was in the army, and like so many other jazz musicians, he was still undermined by drugs (it was also an acquired habit, a kind of lifestyle imposed by the environment itself). ) and served him at the same time to stay active during tours, parties and celebrations and innumerable recordings, which constituted an impressive legacy where he collected the resonances and influences of classical music from the baroque, romanticism, impressionism and avant-garde, until you get to jazz. From that impressive career of dozens of albums, he always maintained his peculiar style that, for lack of another more rigorous epithet, we will call lyrical, arising from an emotionality close to the poetic state, an intimacy not only with romantic edges, but also from Debussy's impressionism and other musicians of this movement, always staying within reflective atmospheres where the artist demands, through the instrument, to express his deep voice, a voice shared with his peers, always adhering to what was initially called chamber music, music to be heard in private venues, for which reason it remained in the scheme of the trio, the quartet and eventual accompaniments to singers or related musicians. To the aforementioned albums from the fifties, the albums Portrait in Jazz (1959) were added at the end of that decade, where the collaborations with Philly Joe Jones on drums, Scott LaFaro on bass and Paul Motian on percussion, are maintained. to open the sixties with these last two musicians in Explorations (1961) and Sunday at the Village Vanguard (1961), a year that was very productive and in which he recorded Nirvana together with Herbie Mann on flute and bass; while the following year he recorded How My Heart Sings (1962); he accompanied Freddie Hubbard on trumpet on Interplay (1962) and Jim Hall on guitar on Undercurrent (1962), which was followed by Empathy and others. In 1965 he made an exception and recorded an album with a symphony orchestra conducted by Claus Ogerman. In 1966 he records A Simple Matter of Conviction. In 1967 he further Conversations with Myself in solos where he realizes his self-absorption. The same year California Here I Come, with Eddie Gómez and Philly Joe Jones; in 1968 he wins a Grammy Award with Alone Anothertime is another album from that year, featuring Eddie Gomez and Marty Morell. From 1960 stand out Jazzhouse, What's New and You're Gonna Hear from Me. He goes to England and records Evans in England . From 1970 stand out From Left to Right , Montreux , The Bill Evans Album (trio). In 1972, Live in Paris , Eloquence , Momentum or The Tokio Concert stand out . In 1973 and 1974 he continued in the line of the trio with his inseparable Gómez and Morell in Half Moon Bay , Since We Met , Symbiosis , But Beautiful , Blue in Green and Intuition. In 1975, he made the famous recording with the great singer Tony Bennett and then Alone Again. In 1976, we have him making a quintet with Kenny Burrell on guitar and Ray Brown on bass, Jones and Gómez, and On A Monday Evening . In 1977, he worked in a quintet with Lee Konitz, Warne Marsh and Eddie Gómez and won another Grammy Award again with I Will Say Goodbye , and You Must Believe In Spring , one of the albums we listened to most in the seventies together with Getting Sentimental and New Conversations in 1978. In 1979, he has an astonishing production of albums and presentations that include recordings with quintets like Affinity, and We Will Meet Again , and others with trios like Homecoming . That same year he traveled to Paris, where he made a memorable recording with the title The Paris Concert Edition , until he finally gave us Turn Out the Stars , The Last Waltz , Consecration , The Last Concert in Germany and The Very Last Performance at Fat Tuesday , in direct allusion to Greasy Friday at the New Orleans carnival. From 1980 is Autumn Leaves . An impressive investigation into the spirit of jazz in the 20th century lives in all of these, to connect its messages with that spiritual animism that starts from blues and gospel, goes through a stage of modern experimentation of bop and cool to land in a new type of intimate chamber music that speaks above all to the senses, to the presentiments and sweet or bitter thoughts of love and its ups and downs, to its mood flows, melancholy and sadness, introspective meditations and ups and downs of the mood that led him to occupy a place exceptional in the history of jazz. Read the full article

[anamon-book]

スイングジャーナル 1981年11月号 スイング・ジャーナル社 表紙：中本マリ & ドン・グルーシン（写真＝Yoshi Ohara）

[fearsmagazine]

VARÈSE SARABANDE RECORDS  Announces RECORD STORE DAY 2021 Releases.

Varèse Sarabande Records will be releasing seven amazing soundtrack LPs on Record Store Day 2021’s newly announced release dates: The Matrix will be released as a deluxe 3-LP set, Village of the Damned will be released as a deluxe-edition double LP, The Iron Giant and The Goonies will get the picture disc treatment, and Shrek, Ghosts of Mars, and Aliens will be released as limited-edition color LPs. This annual celebration will be held through a series of Record Store Day drops, which will occur on June 12th and July 17th.

These seven Varèse Sarabande Records titles will be available on the dates listed below at thousands of independent record stores. For a list of participating stores and more information about these special LPs, visit RecordStoreDay.com.

*JUNE 12th: The Matrix, The Goonies, Village of the Damned, Shrek *JULY 17th: The Iron Giant, Ghosts of Mars, Aliens

THE MATRIX: The Complete Edition – Don Davis (3-LP Set) – *RELEASE DATE: JUNE 12th* The science-fiction masterpiece has captured the imagination of another generation with news of a new Matrix film in production. This deluxe 3-LP set is pressed on Glitter-Infused Green vinyl, expanded to 44 tracks, and housed in a stunning new art design. Also included are classic film stills and an exclusive new interview with composer Don Davis.

TRACK LISTINGS

Side A 1. “Logos / The Matrix Main Title” 2. “Trinity Infinity” 3. “Neo Con Brio” 4. “Follow The White Rabbit” 5. “Neo On The Edge” 6. “Through The Surveillance Monitor” 7. “Unable To Speak” 8. “Bait And Switch”

Side B 1. “Switched For Life” 2. “Switched At Birth” 3. “Switches Brew” 4. “Cold Hearted Switch” 5. “Nascent Nauseous Neo” 6. “A Morpheus Movement” 7. “Bow Whisk Orchestra”

Side C 1. “Domo Showdown” 2. “Switch Or Break Show” 3. “Shake, Borrow, Switch” 4. “Switch Works Her Boa” 5. “Bring Me Dinner” 6. “The System” 7. “Freeze Face” 8. “Switch Woks Her Boar” 9. “Cypher Cybernetic” 10. “Ignorance Is Bliss / Cyber Cyphernetic” 11. “See Who?” 12. “Switch Out”

Side D 1. “Boon Spy” 3. “Oracle Cookies” 4. “Threat Mix” 5. “Exit Mr. Hat” 6. “On Your Knees, Switch”

Side E 1. “Mix The Art” 2. “Whoa, Switch Brokers” 3. “The Cure” 4. “It’s The Smell” 5. “The Lobby” 6. “No More Spoons” 7. “Dodge This” 8. “Fast Learning” 9. “Ontological Shock”

Side F 1. “That’s Gotta Hurt” 2. “Surprise” 3. “He’s The One Alright”

THE GOONIES – David Grusin (Picture Disc) – *RELEASE DATE: JUNE 12TH* In celebration of the 35th anniversary of The Goonies, the beloved soundtrack by Dave Grusin will be released on an LP picture disc for the first time ever! The special release features the album cover on side A and the infamous One-Eyed Willie on side B. The track listing to this abbreviated single-disc version of the original score was personally selected and assembled by Grusin himself.

TRACK LISTINGS

Side A 1. “Fratelli Chase” 2. “Cellar And Sloth” 3. “The Goondocks (Goonies Theme)” 4. “The ‘It,’ Fifty Dollar Bills And A Stiff” 5. “Pee Break And Kissing Tunnel” 6. “Skull And Signature” 7. “Plumbing” 8. “Restaurant Trash” 9. “Boulders, Bats And A Blender”

Side B 1. “They’re Here And Skull Cave Chase” 2. “Playing The Bones” 3. “Mikey’s Vision” 4. “Triple Stones And A Ball” 5. “Wishing Well And The Fratellis Find Coin” 6. “Mama & Sloth” 7. “One Eyed Willie” 8. “No Firme And Pirate Ship”

VILLAGE OF THE DAMNED: The Deluxe Edition – John Carpenter & Dave Davies (2-LP Set) – *RELEASE DATE: JUNE 12TH* The Deluxe Edition for Village of the Damned presents the full score as heard in the film for the first time, a far more complete presentation than the 1995 Original Soundtrack which was not only truncated but made of an entirely separate mix that wasn’t featured in the film. The set does, however, include the track “Midwich Shuffle,” a fun number which was created specifically for the 1995 soundtrack, despite never actually appearing in the film. Interest in John Carpenter’s original film scores has never been higher, and his collaboration with Dave Davies of the Kinks is a one-of-a-kind moment in cinematic music history. The album includes all-new original art direction with new notes and classic film stills and comes pressed on Orange Haze vinyl.

TRACK LISTINGS

Side A 1. “Angel Of Death / Midwich Sleeps / Daybreak” 2. “The Fair (Extended Version)” 3. “Gas Station / Asleep” 4. “Awaken / The Funeral” 5. “Welcome Home, Ben (Extended Version)” 6. “Big Meeting / The Decision” 7. “The Same Dream”

Side B 1. “Baptism (Extended Version)” 2. “Baby Mara” 3. “Children’s Theme / Dilemma” 4. “The Parents Arrive” 5. “Children’s Carol (Instrumental)”

Side C 1. “Loss / Carol Of The Damned” 2. “Carlton” 3. “Ben’s Death / Ultimatum” 4. “Burning Desire (Extended Version)”

Side D 1. “Last Kiss / The Bomb” 2. “The Brick Wall (Extended Version)” 3. “March Of The Children (End Credits)” 4. “Midwich Shuffle”

SHREK – Harry Gregson-Williams & John Powell (Limited-Edition Color LP) – *RELEASE DATE: JUNE 12TH* Shrek is the second most successful animated franchise in history and celebrating its 20th anniversary in 2021. Harry Gregson-Williams and John Powell are two of the most prominent composers working on animated features today, and they joined forces to create a score that is still as fun and memorable as it was when it was first released. The LP will be released on Neon Green vinyl, making it a standout addition to any record lover’s collection.

TRACK LISTINGS

Side A 1.  “Fairytale” 2.  “Ogre Hunters / Fairytale Deathcamp” 3.  “Donkey Meets Shrek” 4.  “Eating Alone” 5.  “Uninvited Guests” 6.  “March Of Farquuad” 7.  “The Perfect King” 8.  “Welcome To Duloc” 9.  “Tournament Speech” 10. “What Kind Of Quest” 11. “Dragon! / Fiona Awakens” 12. “One Of A Kind Knight” 13. “Saving Donkey’s Ass” 14. “Escape From The Dragon”

Side B 1.  “Helmet Hair” 2.  “Delivery Boy / Shrek / Making Camp” 3.  “Friends Journey To Duloc” 4.  “Starry Night” 5.  “Singing Princess” 6.  “Better Out Than In / Sunflower / I’ll Tell Him” 7.  “Merry Men” 8.  “Fiona Kicks Ass” 9.  “Fiona’s Secret” 10. “Why Wait To Be Wed / You Thought Wrong” 11. “Ride The Dragon” 12. “I Object” 13. “Transformation / The End”

THE IRON GIANT – Michael Kamen (Picture Disc) – *RELEASE DATE: JULY 17TH* This first-ever picture disc of this heartwarming 1999 animated film celebrates The Robot, his best friend, Hogarth, and a cast of characters. The music is by Academy Award®-nominated composer Michael Kamen (Lethal Weapon, Die Hard), who was well-known for his work with Eric Clapton, Metallica and Pink Floyd, in addition to his brilliant theatrical scores.

TRACK LISTINGS

Side A 1. “The Eye Of The Storm” 2. “Hogarth Hughes” 3. “Into The Forest” 4. “The Giant Wakes” 5. “Come And Get It” 6. “Cat And Mouse” 7. “Train Wreck” 8. “You Can Fix Yourself?” 9. “Hand Underfoot” 10. “Bedtime Stories” 11. “We Gotta Hide” 12. “His Name Is Dean” 13. “Eating Art” 14. “Space Car” 15. “Souls Don’t Die”

Side B 1. “Contest Of Wills” 2. “The Army Arrives” 3. “Annie And Dean” 4. “He’s A Weapon” 5. “The Giant Discovered” 6. “Trance-Former” 7. “No Following” 8. “The Last Giant Piece”

GHOSTS OF MARS – John Carpenter (Limited-Edition Color LP) – *RELEASE DATE: JULY 17TH* In celebration of Ghosts of Mars’ 20th anniversary, the epic soundtrack will be released on “Red Planet” vinyl. John Carpenter recruited an unbelievable cast of musicians to record the soundtrack to this sci-fi horror film, starring Ice Cube and Natasha Henstridge. Among the featured players are GRAMMY®-winning musician Steve Vai, most of the heavy metal band Anthrax (including Scott Ian), Elliot Eason of the rock band The Cars, Buckethead of Guns N’ Roses, and Robin Finck of Nine Inch Nails and Guns N’ Roses. This soundtrack is apocalyptic and an important mark in John Carpenter’s unparalleled career as a director and composer.

TRACK LISTINGS

Side A 1. “Ghosts Of Mars” 2. “Love Siege” 3. “Fight Train” 4. “Visions Of Earth” 5. “Kick Ass”

Side B 1. “Slashing Void” 2. “Power Station” 3. “Can't Let You Go” 4. “Dismemberment Blues” 5. “Fightin’ Mad” 6. “Pam Grier’s Head” 7. “Ghost Poppin’”

ALIENS: 35th Anniversary Edition – James Horner (Limited-Edition Color LP) – *RELEASE DATE: JULY 17TH* Aliens is regarded as one of the greatest science fiction franchises of all-time. In honor of its 35th anniversary, the long out-of-print original soundtrack gets a fresh reboot on Acid-Blood Yellow-Green vinyl.  The soundtrack is scored by the great Academy Award®-winning composer James Horner (Titanic, Avatar, Beautiful Mind). The LP features the original Sigourney Weaver key art and original film stills.

TRACK LISTINGS

Side A 1. “Main Title” 2. “Going After Newt” 3. “Sub-Level 3” 4. “Ripley’s Rescue” 5. “Atmosphere Station”

Side B 1. “Futile Escape” 2. “Dark Discovery” 3. “Bishop’s Countdown” 4. “Resolution And Hyperspace”

ABOUT VARÈSE SARABANDE RECORDS

Founded in 1978, Varèse Sarabande is the most prolific producer of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino and Brian Tyler. Varèse Sarabande is a part of Concord.

Follow:  twitter.com/varesesarabande

Watch:  youtube.com/varesesarabande

Listen:  open.spotify.com/user/varesesarabanderecords

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Buy:  varesesarabande.com

[dongrusin]

DG Playing in Europe soon!

Upcoming gigs:

POINT of DEPARTURE BAND 

led by Sax-Great Peter Weniger

Don Grusin - Keys,  Hanno Busch - Guitar,  Claus Fischer - Bass,   Jonas Burgwinkel  - Drums

June 12 - Jazz-Fabrik in Rüsselsheim, Germany 

June 13 - Redhorn District in Bad Meinberg, Germany

Heading over to London  June 18th REUNION CONCERT  with old friend Bill Sharpe of Shakatak

BILL and DON’S REUNION JAM at JENNIE’S

click on link for reservations:

https://www.wegottickets.com/sct/vWhpV4EmJS

Back to Berlin to play with Point of Departure Band

June 20-21 - A-Trane in Berlin

June 23 - Jazz Baltica in Timmerdorf

June 24 - A-Trane in Berlin with Patrice Heral on drums

On to Switzerland with brother Dave

Dave & Don Grusin  - 2 pianos

July 12 - Festival Da Jazz,  St. Moritz, Switzerland

[cinesludge]

Movie #57 of 2019: Three Days of the Condor

[whileiamdying]

THREE DAYS OF THE CONDOR (1975)

Turner (Robert Redford) is not your stereotypical Central Intelligence Agency operative, the short‐haired, buttoned‐down kind we've seen testifying live on television from time to time. Turner's hair is fashionably long. He wears blue jeans and shirts without ties and he rides to work on a motorcycle. He's an eccentric link in the C.I.A. chain of command.

THREE DAYS OF THE CONDOR, directed by Sydney Pollack; screenplay by Lorenzo Semple Jr. and David Rayfiel, based on the novel Six Days of the Condor, by James Grady; produced by Stanley Schneider; director of photography, Owen Roizman; music, Dave Grusin: supervising flint editor, Fredric Steinkamp: editor, Don Guidice; a Dino de Laurentiis presentation, distributed by Paramount. Running time: 118 minutes. This film has been rated R.

Turner's “work” is on Manhattan's upper East Side, in a handsome old brownstone identified as the American Literary Historical Society, which is a blind for an esoteric C.I.A. research center where agents read and feed into a computer pertinent details from contemporary novels, short stories and journals of all sorts. The aim: to find out whether pending C.I.A. operations may have somehow been leaked, and to pick up pointers on spy methodology that may have been fantasized by hack fiction writers.

Turner is a C.I.A. “reader,” which, like the job of a reader at a movie company, is about as unimportant as job can be while still qualifying its incumbent as a member of the team.Yet in Sydney Pollack's “Three Days of the Condor,” Turner, whose code name is Condor, comes close to wreaking more havoc on the C.I.A. in three days than any number of House and Senate investigating committees have done in years. (The film, based on James Grady's novel, “Six Days of the Condor,” has compressed the story's time span, necessitating the modification of title.)“Three Days of the Condor,” which opened yesterday at Loews Astor Plaza and Tower East Theaters, is a good‐looking, entertaining suspense film that is most effective when it's being most conventional, working variations on obligatory sequences of pursuit and flight, and on those sudden revelations that can reverse the roles of cat and mouse.As a serious exposé of misdeeds within the C.I.A. the film is no match for stories that have appeared in your local newspaper. Indeed, one has to pay careful attention to figure out just what it is that who is doing to whom in “Three Days of the Condor” and, if I understood it correctly, it's never as horrifying as the real thing.In the screenplay by Lorenzo Semple Jr., and David Rayfiel, Turner very early on stumbles upon the existence of a kind of super‐C.I.A. within the C.I.A., after which his life is not worth a plug nickel. It doesn't do to analyze too closely the character Mr. Redford plays, that is, to ask why the bookish intellectual of the film's opening sequences would have joined the C.I.A. in the first place, or how he later manages so easily to become such a hotshot at tapping telephones and kidnapping very important persons. The suspense of the film depends less on this kind of plausibility than on Mr. Redford's reputation (in a movie we accept the fact that he can do anything) and on the verve with which Mr. Pollack, the director, sets everything up. It also benefits from the presence of good actors, including Faye Dunaway (as the woman who befriends the. fleeing Turner), Cliff Robertson, Max Von Sydow and John Houseman, though it's not a film to make particular demands on their talents.At its best moments, “Three Days of the Condor” creates without effort or editorializing that sense of isolation—that far remove from reality‐within which supergovernment agencies can operate with such heedless immunity. This point is implicit in the jargon the agents use. When a C.I.A. man speaks to Turner of “the community,” he's not talking about a borough or a city or a state but about the brotherhood of intelligence people, who live in another dimension of time, place and expectation.

CAST:

Robert Redford as Joseph Turner

Faye Dunaway as Kathy Hale

Cliff Robertson as Higgins

Max von Sydow as Joubert

John Houseman as Wabash

Addison Powell as Leonard Atwood

Walter McGinn as Sam Barber

Tina Chen as Janice Chong

Michael Kane as S.W. Wicks

Don McHenry as Dr. Lappe

Michael Miller as Fowler

Jess Osuna as The Major

Dino Narizzano as Harold

Helen Stenborg as Mrs. Russell

Patrick Gorman as Martin

Hansford Rowe as Jennings

Carlin Glynn as Mae Barber

Hank Garrett as The Mailman

James Keane as Store Clerk

Sal Schillizzi as himself

Sydney Pollack as Ben

[genevieveetguy]

You think not getting caught in a lie is the same thing as telling the truth?

Three Days of the Condor, Sydney Pollack (1975)

[projazznet]

Lee Ritenour – Friendship

Friendship is a studio album by Lee Ritenour released in 1978.

Lee Ritenour – acoustic guitars, electric guitars Dave Grusin – acoustic piano, electric piano Don Grusin – electric piano Abraham Laboriel – electric bass Steve Gadd – drums Steve Forman – percussion Ernie Watts – soprano saxophone, tenor saxophone

[mosaicrecords]

Joe Pass: Que Que Ha

Que Que Ha is a very cool track from an unusual album in Joe Pass’s discography, Tudo Bem! from 1978, with Don Grusin on electric piano and a soulful Brazilian rhythm section. As you can hear, this is sunny, swinging music.

-Michael Cuscuna

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[drivebymediamusic]

Dave Grusin - Migration 1989 GRP Records

Dave Grusin – Migration 1989 GRP Records

Dave Grusin – Migration 1989 GRP Records With Brandford Marselus, Omar Hakim, Hugh Masekela, Marcus Miller, Abe Laboriel, Carlos Rios , Don Grusin you have some great smooth jazz #Dave Grusin, #migration, #grprecords, #1989, https://www.instagram.com/p/CjEpVRHuY5D/?igshid=MDJmNzVkMjY=

[khwethemule]

I used Song Finder https://play.google.com/store/apps/details?id=app.realvision.songfinder to discover Abbot Kinney Blvd by Don Grusin

[bamboomusiclist]

6/27  Tim Cross / Call of the Wild Jw 535  等更新しました。

おはようございます、更新完了しました。https://bamboo-music.net

Art Blakey / and the Jazz Messengers a7 Dave Grusin / Kaleidoscope cl2344 Dexter Gordon / Doin Allright Bst84077 Billy Taylor / Midnight Piano t2302 Eric Dolphy & Booker Little / Memorial Album Prst7334 Phineas Newborn / Look Out 2310801 Julie London / You Don't Have to Be a Baby to Cry lst7342 Julie London / London's Girl Friends no.1 re-n.1092 Doris Day / Day Dreams bbe12151 Helen Forrest Harry James / and His Orchestra featuring Helen Forrest b-2507 Don Wilkerson / Camp Meetin cw- Homesick Blues 45-1864 Chuck Loeb / Dedicated to George Benson gvr3304 Ralph Towner / Batik  1121 Egberto Gismonti / Solo 1136 Michael Naura / Vanessa ecm1053st Caetano Veloso / Outras Palavras 6328303 Tim Cross / Call of the Wild Jw 535 VA / Night Music coda7 Kim Kashkashian / Elegies 1316 Art Lande Rubisa Patrol / Desert Marauders ecm1106st

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