A sizzling compilation album by Big Band de Canarias
“Elmer Bernstein: The Wild Side” is a new recording of Bernstein favorites by acclaimed big band, Big Band de Canarias, from Tenerife in the Canary Islands. Standards and special arrangements from Johnny Staccato, The Rat Race, The Age of Innocence, Ghostbusters and Devil in a Blue Dress are covered with a jazzy big-band flair that includes the vocal talents of Esther Ovejero and some stunning flute solos by Sara Andon.
For more information, to purchase or to hear a selection of audio, please visit the Varèse Sarabande website.
June, 2014—A tribute to the great film composer, Elmer Bernstein, will feature some of his most classic film scores: “The Great Escape,” “The Magnificent Seven,” “To Kill a Mockingbird,” “Walk on the Wild Side,” and “The Man with the Golden Arm.” Other greats will be featured, as well, on June 5, 2014. Paul Bateman will be conducting the RPO. For more information or to purchase tickets, please visit the Royal Albert Hall website.
For more information about upcoming concerts featuring the music of Elmer Bernstein, please visit the Movies in Concert website.
An iconic John Wayne western brought to larger than life by a powerful Elmer Bernstein score is surely a must for Bernstein fans and film-music aficionados alike. Wayne’s U.S. marshal figure, Cahill, is painted with a bold orchestral theme incorporating big brass and a strong undercurrent of the rugged west, while gripping action sequences conjure the imposing presence and gruff persistence of Wayne’s character in pursuit of a gang of outlaws. Enigmatic and stirring moments suggest the character’s greater depth and inner conflict, and the unexpected Charlie Rich vocals (music by Bernstein, lyrics by Don Black) add an aspect of quiet thoughtfulness to the work as a whole.
This new Intrada release is more than just a re-release: brand new stereo mixed from the original multi-track recordings are as clear and vibrant as if recorded today. Scene cues never before heard, the Original Warner Bros. artwork and color stills, complete cue assembly details and liner notes by Jeff Bond complete this very special collection.
For more information, to purchase, or to hear a selection of audio, please visit the Intrada website.
Jon Burlingame hosts a two-hour tribute to the legendary composer Dec. 26 on KUSC
LOS ANGELES — As part of its signature holiday programming, Classical KUSC 91.5 FM in Los Angeles presents a two-hour special marking the 50th anniversary of Elmer Bernstein’s most famous movie score, The Magnificent Seven.
Cast a Giant Shadow: The Music of Elmer Bernstein will broadcast Sunday, December 26th at 2 pm, both over the air and on-line at www.KUSC.org. The retrospective is written and hosted by journalist, USC faculty member and popular KUSC guest personality Jon Burlingame.
The program will feature excerpts from many of Bernstein’s film scores and concert works, as well as interviews conducted with the late composer himself, discussing his approach to the craft of film music along with specifics about many of his scores. Rarely heard, out-of-print recordings will also be featured.
In celebration of the world’s first clean emission grand prix, TTXGP (Time Trials Xtreme Grand Prix) and the LMO (London Metropolitan Orchestra) are presenting “The Promise of a Generation,” a symphonic concert featuring a repertoire of film classics and rock/pop anthems, among them Elmer Bernstein’s “The Great Escape,” which will be performed in the top half of the program.
London’s finest multimedia orchestra, the LMO is known worldwide for performing television and film soundtracks, having long been tapped by Hollywood’s major studios and recording companies. The 70-piece orchestra will be accompanied by a rock band and colossal 3D visuals.
The concert will take place on Thursday, June 11, 2009 at The Royal Hall in Villa Marina on the Isle of Man. More information is available at the TTXGP website. Tickets are available from the Villa Marina Box office on +44 (0) 1624 694555. VIP hospitality options are also available.
Ever wonder what Elmer Bernstein would’ve done for a James Bond movie? Now’s your chance to find out in this world premiere release of the “Gold” soundtrack for Peter Hunt’s action adventure starring “007” vets Roger Moore, Susannah York, and Ray Milland. Start with a brazen title song—written in collaboration with famed “Bond” lyricist Don Black—and follow it with beefy action, sweeping melody, signature jazz, ruthless suspense, and glittering cues. Intrada CD presents the complete program from the generous-length 1974 ABC label stereo LP, prepared from mint-condition original album masters housed in UMG vaults. Elmer Bernstein conducts. The Intrada Special Collection release is limited to 3000 copies!
For more information, to purchase, or to hear a selection of audio, please visit the Intrada website.
What do “Gangs of New York,” “The Journey of Natty Gann,” and “The Scarlet Letter” all have in common? They’re all among the unused scores of Elmer Bernstein, and they’re all for the first time available — and together — in a single collection of four CDs.
His penultimate film score, and one he most ardently wanted released, “Gangs of New York” is set to Martin Scorsese’s mid-19th century period piece and is Bernstein at his boldest, with orchestral brass and Celtic undertones all colliding to underscore the seething hostilities and bellicose atmosphere of rivaling cultures in a lower-Manhattan neighborhood.
“The Journey of Natty Gann” is pure Disney with Bernstein at the helm, delivering a bounty of melodic layers and thematic explorations that travel the gamut from adventure to mis-adventure, through despair and discovery. A treat and a delight amidst a double-dose of hard-hitting Bernstein.
Haunting vocals, soaring orchestrations, a sense of darkness within the light… Bernstein’s score to “The Scarlet Letter” reaches into the depth of Nathanial Hawthorne’s classic novel in which passion rivals the Puritan ethic and a woman’s fierce independence burns more brightly than the red insignia emblazoning her sin.
This unique opportunity to own and enjoy what only a relative few have heard before is thanks to Walt Disney Pictures and the Elmer Bernstein Estate. While these scores never made it to the theatre, they are undeniably worthy of an appreciative audience, who won’t need the movies to recognize the greatness of the music written for them.
This 4-CD set, featuring a Matthew Joseph Peak painting on the cover, is limited to 2500 copies, and is available only through Varèse Sarabande’s CD Club. For more information, to purchase, or to hear a selection of audio, please visit the Varèse Sarabande website.
An appropriate pairing from Bernstein’s own tape archive (lest they’d be lost forever), this deluxe CD features Bernstein’s flair for suspense, charged emotional drama, and sublime storytelling through music. And despite their medical themes, there is nothing sterile about the scores for these two films.
Considered among Bernstein’s classic scores “The Caretakers (1963)” achieves a modern, forward-thinking sound for what was considered daring subject matter at the time. Edgy, provocative, and at times chilling and somber themes, along with the Bernstein brass and punch, make for great listening, whether or not one is familiar with the movie.
A real treat for Bernstein aficionados, this premiere release of the largely unknown score for “The Young Doctors (1961)” packs a big sound, from its compelling and propelling main theme to Young Doctors Waltz.
Said to be “Elmer Bernstein’s ‘Star Wars’,” “Heavy Metal” is considered by many as one of the great symphonic scores of all time. Rich, robust, thundering, and driven, the score has long been sought by collectors, and is finally available, courtesy of Rhino Entertainment Company, Elektra Entertainment Group, Sony Pictures Entertainment, Inc., Irving Azoff, the estate of Elmer Bernstein, the University of Southern California Cinema-Television Library, and the Loc Nar.
In keeping with the film’s anthological format, distinct melodies highlight the score, from the heroic anthem of Den to the moody film noir-esque Harry Canyon and the soaring love theme of Taarna.
The complete score has been faithfully remastered from the Bernstein’s personal 1/4″ stereo tapes (preserved with excellent sound quality) and presented in chronological order along with bonus tracks of selections edited for the 1981 Asylum Records LP. Liner notes by Paul Andrew MacLean draw from Bernstein interviews and include new comments from orchestrator David Spear, who adapted two of the cues from Bernstein’s original material. Stills from the film add to this beautifully produced CD.
There isn’t a film genre that Elmer Bernstein hasn’t enriched with his exceptional versatility and consummate originality: western, drama, comedy, action-adventure, epic, documentary, sci-fi, and yes, even romance. Although “By Love Possessed (1961)” never achieved “classic” status, it is, however, classic Bernstein. Set to a story that revolves around romantic quest, conflict and acquisition in sumptuous, sprawling New England, the score captures all of it with sweeping love themes, boisterous action, pastoral beauty, buoyant humor, and the insinuation of pent up passion. It is Bernstein after all!
In “Cannon for Cordoba (1970),” a big-action western directed by Paul Wendkos and revolving around the turbulent Texas-Mexico border conflicts in 1912, Bernstein pulls out all the stops with a powerful, and yes, explosive score that includes “Elmer Bernstein’s Mariachi Fiesta,” 10 tracks featuring Bernstein’s original adaptations of familiar fiesta suites.
In “From Noon Till Three (1976),” Charles Bronson sheds his usual tough-guy image to reveal an unexpected comedic side in this film by Pulitzer Prize-winning playwright and director Frank D. Gilroy. Little surprise is Bernstein’s alacrity with winsome wit within the western genre. This is a unique and entertaining score that is charming and sensitive, with moments of delicate beauty and all the fun of a raucous saloon. The CD includes the Golden Globe-nominated song—”Hello and Goodbye”—by Bernstein with lyrics by Alan and Marilyn Bergman. Bernstein and Alan Bergman introduce the song in a rare cameo.