Quincy Jones and “The Color Purple”

quincyjones

Quincy Delight Jones Jr. (born March 14, 1933) is an American record producer, actor, conductor, arranger, composer, musician, television producer, film producer, instrumentalist, magazine founder, entertainment company executive, and humanitarian, whose career spans six decades in the entertainment industry with a record 79 Grammy Award nominations, and 28 Grammys, including a Grammy Legend Award in 1991.  Jones was born in 1933, on the South Side of Chicago to Quincy Delight Jones, Sr (1895-1971) and Sarah Frances (née Wells) (1903-1999).   His father was a semi-professional baseball player and carpenter from Kentucky.  Quincy was introduced to music by his mother, who always sang religious songs; and by his next-door neighbor, Lucy Jackson. When Jones was five or six, Jackson played stride piano next door, and he would always listen through the walls.

In 1943, when Jones was ten, his family moved to Bremerton, Washington, where his father got a wartime job at the Puget Sound Naval Shipyard.  After the war, the Jones family moved to Seattle, the major regional city, where Jones attended Garfield High School near his home. He had discovered music when he was 12 and became more deeply involved in high school, developing his skills as a trumpeter and arranger.   Classmates included Charles Taylor, who played saxophone and whose mother, Evelyn Bundy, had been one of Seattle’s first society jazz-band leaders. The youths began playing with a band. At the age of 14, they were playing with a National Reserve band.   That same year, Jones introduced himself to a 16-year-old musician from Florida, Ray Charles, after watching him play at the Black Elks Club.

In 1951, Jones won a scholarship to Seattle University, where a young Clint Eastwood – also a music major there – watched him play in the college band. After only one semester, Jones transferred to what is now the Berklee College of Music in Boston on another scholarship.  While studying at Berklee, he played at Izzy Ort’s Bar & Grille with Bunny Campbell and Preston Sandiford.  He left his studies after he received an offer to tour as a trumpeter with the bandleader Lionel Hampton and embarked on his professional career. While Jones was on the road with Hampton, he displayed a gift for arranging songs. Jones relocated to New York City, where he received a number of freelance commissions arranging songs for artists including Sarah Vaughan, Dinah Washington, Count Basie, Duke Ellington, Gene Krupa, and Ray Charles, by then a close friend.

At the age of 19, Jones traveled with Hampton to Europe and said it turned him upside down.  In 1956, Jones toured again as a trumpeter and musical director of the Dizzy Gillespie Band on a tour of the Middle East and South America sponsored by the United States Information Agency. Upon his return, Jones signed with ABC-Paramount Records and started his recording career as the leader of his own band. In 1957, Quincy settled in Paris, where he studied composition and theory with Classical composers Nadia Boulanger and Olivier Messiaen. He also performed at the Paris Olympia. Jones became music director at Barclay Disques, a leading French record company and the licensee for Mercury Records in France.

During the 1950s, Jones successfully toured throughout Europe with a number of jazz orchestras. As musical director of Harold Arlen’s jazz musical Free and Easy, Quincy Jones took to the road again. A European tour closed in Paris in February 1960. With musicians from the Arlen show, Jones formed his own big band, called The Jones Boys, with eighteen artists. The band included double bass player Eddie Jones and fellow trumpeter Reunald Jones. They organized a tour of North America and Europe. Though the European and American concerts met enthusiastic audiences and sparkling reviews, concert earnings could not support a band of this size. Poor budget planning resulted in an economic disaster; the band dissolved.  Irving Green, head of Mercury Records, helped Jones with a new job as the musical director of the company’s New York division. There he worked with Doug Moody, who founded Mystic Records.

In 1964, Jones was promoted to vice-president of Mercury Records, becoming the first African American to hold this executive position.   In that same year, he turned his attention to film scores.  At the invitation of director Sidney Lumet, he composed the music for The Pawnbroker (1964). It was the first of his 33 major motion picture scores.  Following the success of The Pawnbroker, Jones left Mercury Records and moved to Los Angeles. After composing the film scores for Mirage and The Slender Thread in 1965, he was in constant demand as a composer. His film credits over the next seven years included Walk, Don’t Run, The Deadly Affair, In Cold Blood, In the Heat of the Night, Mackenna’s Gold, The Italian Job, Bob & Carol & Ted & Alice, Cactus Flower, The Out-of-Towners, They Call Me Mister Tibbs!, The Anderson Tapes, $ and The Getaway. In addition, he composed “The Streetbeater,” which became familiar as the theme music for the television sitcom Sanford and Son, starring close friend Redd Foxx; he also composed the themes for other TV shows, including Ironside, Banacek, The Bill Cosby Show, the opening episode of Roots, and the Goodson & Todman game show Now You See It.

In the 1960s, Jones worked as an arranger for some of the most important artists of the era, including Billy Eckstine, Sarah Vaughan, Frank Sinatra, Ella Fitzgerald, Nana Mouskouri, Shirley Horn, Peggy Lee, and Dinah Washington. Jones’s solo recordings also gained acclaim, including Walking in Space, Gula Matari, Smackwater Jack, You’ve Got It Bad Girl, Body Heat, Mellow Madness, and I Heard That!!.  He is known for his 1962 tune “Soul Bossa Nova”, which originated on the Big Band Bossa Nova album. Jones produced all four million-selling singles for Lesley Gore during the early and mid-sixties, including “It’s My Party” (UK No. 8; US No. 1), “Judy’s Turn to Cry” (US No. 5), “She’s a Fool” (also a US No. 5) in 1963, and “You Don’t Own Me” (US No. 2 for four weeks in 1964). He continued to produce for Gore until 1966, including the Greenwich/ Barry hit “Look of Love” (US No. 27) in 1965.

In 1975, Jones founded Qwest Productions, for which he arranged and produced hugely successful albums by Frank Sinatra and other major pop figures. In 1978, he produced the soundtrack for The Wiz, the musical adaptation of The Wizard of Oz, starring Michael Jackson and Diana Ross. In 1982, Jones produced Michael Jackson’s all-time best-selling album Thriller.  Jones’s 1981 album, The Dude, yielded multiple hit singles, including “Ai No Corrida” (a remake of a song by Chaz Jankel), “Just Once,” and “One Hundred Ways”, the latter two featuring James Ingram on lead vocals and marking Ingram’s first hits. In 1985, Jones wrote the score for the Steven Spielberg film adaptation of the Pulitzer-prize winning epistolary novel, The Color Purple, by Alice Walker. After the 1985 American Music Awards ceremony, Jones used his influence to draw most of the major American recording artists of the day into a studio to record the song “We Are the World” to raise money for the victims of Ethiopia’s famine.

In 1988, Quincy Jones Productions joined forces with Warner Communications to create Quincy Jones Entertainment. He signed a 10-picture deal with Warner Brothers and signed a two-series deal with NBC Productions. The television show The Fresh Prince of Bel-Air was completed in 1990.  In 1993, Jones collaborated with David Salzman to produce the concert extravaganza, An American Reunion.  Jones appeared in the Walt Disney Pictures film, Fantasia 2000, introducing the set piece of George Gershwin’s Rhapsody in Blue. In 2001, Jones published his autobiography, Q: The Autobiography of Quincy Jones. On July 31, 2007, he partnered with Wizzard Media to launch the Quincy Jones Video Podcast. On February 10, 2008, Jones joined Usher in presenting the Grammy Award for Album of the Year to Herbie Hancock. On January 6, 2009, Jones appeared on NBC’s Last Call with Carson Daly to discuss various aspects of his prolific career.  In February 2014, Jones appeared in “Keep on Keepin’ On,” a documentary about his friend Clark Terry.  In July 2014, Jones was starring in a documentary film, The Distortion of Sound.  In September 2015, Jones was a guest on Dr. Dre’s The Pharmacy on Beats 1 Radio. On February 28, 2016, he and Pharell Williams presented Ennio Morricone with the Oscar for best film score, and in August 2016, he and his music were featured at the BBC Proms at the Royal Albert Hall.

My collection includes the following work by Quincy Jones:

The Color Purple: Main Title.

Isham Jones and “It Had to Be You”

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Isham Edgar Jones (January 31, 1894 – October 19, 1956) was an American bandleader, saxophonist, bassist, and songwriter.  Jones was born on January 31, 1894, in Coalton, Ohio, to a musical and mining family, and grew up in Saginaw, Michigan, where he started his first band. In 1911 one of Jones’s earliest compositions “On the Alamo” was published by Tell Taylor Inc.  Taylor had formed a publishing company the year before when his song “Down by the Old Mill Stream” became a hit.  In 1915 Jones moved to Chicago, Illinois. He performed at the Green Mill Gardens, then began playing at Fred Mann’s Rainbo Gardens.  In 1917, he composed the tune “We’re In The Army Now” (known also as “You’re In the Army Now”) when United States entered the World War I. The same tune was popular again during the World War II, and it’s played even by US Army Band.

The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. His first 26 sides, made at Rainbo Gardens, were credited to “Isham Jones’ Rainbo Orchestra.”  By the end of 1920, the name was simply “Isham Jones’ Orchestra.”   He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, “Wabash Blues” written by Dave Ringle and Fred Meinken, was recorded in 1921 by “Isham Jones and his Orchestra.”  This million-seller stayed for twelve weeks in the U.S. charts, six at No. 1.  It was awarded a gold disc by the RIAA.  From the start, his Brunswick records were popular. There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.

Noted musicians who played in Jones’s band included Louis Panico, Benny Goodman (although no records were made during the short time he was there), Woody Herman, Walt Yoder, and Roy Bargy.  From 1929 to 1932, his Brunswick recordings became even more sophisticated with offbeat arrangements by Gordon Jenkins and others; Jones was his own arranger early on, but later cultivated others. During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. His other vocalists included Frank Sylvano, Billy Scott, and Arthur Jarrett. He also toured England with his orchestra in 1925.

Chicago remained Jones’s home until 1932, when he settled in New York City.   In 1932, he added Joe Martin, another of the band’s violinists, as a frequent vocalist. In April that year, young Bing Crosby recorded two sessions with Jones’s group which included “Sweet Georgia Brown.”  In August 1932, Jones signed with Victor, and these records are considered among the best arranged and performed commercial dance band records of the Depression era. Victor’s recording technique was suited to Jones’ band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio. They recorded “experimental” songs for RCA Victor in which Jones began to fuse jazz and early swing music. They recorded “Where? (I Wonder Where?)” and “What Would Happen to Me If Something Happened to You.” His Victor releases had an almost symphonic sound, often with a strong use of tuba. During his Victor period, he recorded two long playing “Program Transcription” records as part of Victor’s unsuccessful 33 1/3 RPM series.

Reed virtuoso Al Gallodoro appeared briefly with Jones in 1933, taking part in a record date October 3.  Jones stayed with Victor until July 1934, when he signed with Decca. Jones’s recordings during this period rivaled Paul Whiteman, Fred Waring’s Pennsylvanians, Leo Reisman, and other dance orchestras as examples of the most popular dance music of the era.  After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Jones started a new band in 1937–38 and recorded a handful of sessions under the ARC labels: Melotone, Perfect and Banner.  In the 1940s, Jones resided on his poultry farm in Colorado, which he occasionally left for short tours with pickup bands. He later resided in Los Angeles, CA. He moved to Hollywood, Florida in 1955, and died there of cancer on October 19, 1956.  His remains were interred at Forest Lawn Memorial Park in Glendale, California, and perhaps for that reason is often erroneously listed as having died in Hollywood, California.

The following work by Isham Jones is contained in my collection:

It Had to Be You (1924).

Fred Jewell and “The Screamer”

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Frederick Alton (Fred) Jewell (May 28, 1875 – February 11, 1936) was a prolific musical composer of band and circus music in the early twentieth century who wrote over 100 marches and screamers.  Jewell was born on May 28, 1875, in Worthington, Indiana.  He became interested in music at a young age, learning a number of instruments, including cornet, violin, clarinet, trombone, piano, and calliope; but as a performer, he is best remembered as a virtuoso euphonium player.  At the age of 16, he ran away from home and joined the Gentry Bros. Dog & Pony Show as a euphonium player. He also played the calliope. After making excellent impressions with successful circus officials, Jewell rose through the ranks. He eventually landed himself as the leader of the Ringling Bros. and Barnum & Bailey Circus band (like Karl King, another successful American composer of his time). He also played in or directed the Hagenbeck-Wallace Circus and the Sells-Floto Circus.  Jewell’s first composition was published in 1897.  Some of his early circus marches include “Battle Royal” (1909), “Floto’s Triumph” (1906), “Quality Plus” (1913), and “E Pluribus Unum” (1917).

In the off-season Jewell led various theatrical stock company bands, theater orchestras, and church ensembles near his Indiana hometown.  He retired from circuses in 1918 and traveled to Iowa, where he lived until 1923, taking leadership of the Iowa Brigade Band in Fairfield.  Then at Oskaloosa, he organized the first high school band in 1919.  From there he began his own publishing company in 1920 and moved back to his hometown of Worthington, IN, in 1923, where he served as high school band director, as well as a steady composer of band music.  He led the Murat Temple Shrine Band of Indianapolis.   In total, he composed over 100 marches, along with several overtures, waltzes, novelties, and other works. He directed other local bands in Florida, such as the Tampa municipal band, and Indiana also.   Some of his later marches include “Supreme Triumph” (1920), “The Screamer” (1921), and “The Old Circus Band” (1923).  Highly esteemed by his peers, Jewell was elected to membership in the American Bandmasters Association.  He died on February 11, 1936, at the age of 61 in Worthington.

My collection includes the following works by Fred Jewell:

                E Pluribus Unum.

The Screamer.

Leon Jessel and “Parade of the Wooden Soldiers”

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Leon Jessel (January 22, 1871 – January 4, 1942) was a German composer of operettas and light classical music pieces, who is best known internationally as the composer of the popular jaunty march The Parade of the Tin Soldiers, also known as The Parade of the Wooden Soldiers.  Jessel was born in the eastern German city of Stettin (now Szczecin, Poland), on January 22, 1871, the son of Jewish merchant Samuel Jessel and his American wife Mary. Although his quite musical parents wished him to become a merchant or businessman, Jessel was instead drawn to become a musician, and left school at the age of 17 to pursue music and musical theater. After studying with various teachers between 1888 and 1891, Jessel became a conductor, music director, chorus master, bandmaster, and theater conductor working in many German cities. Beginning in 1892, these jobs included the position of Kapellmeister in cities which included Mulheim an der Ruhr, Freiberg, Kiel, Stettin, Chemnitz, and Neustrelitz.

Jessel converted to Christianity in 1894 — the same year he premiered his first operetta Die Brautwerbung (The Courtship) — in order to marry Clara Louise Grunewald, and they were wed in 1896. He settled in Lübeck, where he was Kapellmeister at the Wilhelm Theater from 1899 to 1905, whereupon he became director of the Lübeck Liedertafel (men’s singing group) association. While in Lübeck, Jessel composed numerous choral works, operettas, and character pieces. In 1909 his daughter Maria Eva was born.   In 1911 Jessel and family moved to Berlin, where he came into his own and made a name for himself — his 1913 operetta Die beiden Husaren (The Two Hussars) garnered quite a bit of attention. He continued to compose many operettas and Singspiel operas, most of which premiered in Berlin. In 1915 Jessel also co-founded and co-launched the early GEMA, a German performance rights organization.

Jessel’s biggest success was the operetta Schwarzwaldmädel (Black Forest Girl), which premiered at the Komische Oper in Berlin in August 1917. The opera’s touching libretto, appealing melodies, and elegant instrumentation proved immensely popular, and it ran in Berlin for 900 performances, and within the next 10 years was performed approximately 6,000 times in Germany and abroad. Schwarzwaldmädel has been recorded numerous times over many decades, and has been filmed and televised numerous times as well.  Jessel also had a major success with his 1921 operetta Die Postmeisterin (The Postmistress), and in total he wrote nearly two dozen operettas.

One of Jessel’s non-operatic pieces still extensively performed and recorded worldwide is the jaunty march (originally for piano) for orchestra or military band entitled The Parade of the Tin Soldiers (Die Parade der Zinnsoldaten).  The Parade of the Tin Soldiers was popularized internationally in the early 1920s, under the title The Parade of the Wooden Soldiers, by Nikita Balieff in his La Chauve-Souris vaudeville show. In 1923, Lee DeForest filmed The Parade of the Wooden Soldiers, performed by Balieff’s company, in the DeForest Phonofilm sound-on-film process. The film premiered that year in New York City, and is in the Maurice Zouary collection at the Library of Congress.  By the mid-1920s, the piece was a hit single recorded by the orchestras of Carl Fenton, Vincent Lopez, and Paul Whiteman. It has been widely performed and recorded ever since.

Jessel’s operettas were popular, nationalistic, and very German — Schwarzwaldmädel was a favorite of Hitler and Himmler. Because of this, and because of his own conservative nationalistic ideology, and because his second wife Anna joined the Nazi party in 1932, Jessel expected acceptance in Germany even during and after the Nazi rise to power. Instead, he was rejected by Nazi leadership because of his Jewish descent, even though he had converted to Christianity in 1894, and performances of his works were banned in 1933. Jessel’s last major work was his 1933 operetta Junger Wein (Young Wine), and his biographer Albrecht Dümling believes that he was a victim of targeted boycott measures as early as 1927.

In 1937 Jessel was forced out of the Reichsmusikkammer (the State Music Institute), and recordings and distribution of his works were prohibited. In 1941 a house search turned up a 1939 letter to his librettist William Sterk in Vienna, in which Jessel had written: “I cannot work in a time when hatred of Jews threatens my people with destruction, where I do not know when that gruesome fate will likewise be knocking at my door.” On December 15, 1941, Jessel was arrested and delivered to the Gestapo in Berlin. He was tortured by the Gestapo in a basement of the Police Bureau at Alexanderplatz, and subsequently died on January 4, 1942 in the Berlin Jewish Hospital.

Jessel was a prolific composer who wrote hundreds of light orchestral pieces, piano pieces, songs, waltzes, mazurkas, marches, choruses, and other salon music. He achieved considerable acclaim with a number of his operettas.  His charming operetta Schwarzwaldmädel (Black Forest Girl) remains one of the most popular operettas written in Germany to this day, and it has continued to be performed, recorded, filmed, and televised.  Several of Jessel’s instrumental character pieces, such as “The Wedding of the Rose” (Der Rose Hochzeitszug), are also still in international circulation.  However, because Jessel was a Jew by birth, though he converted to Christianity at the age of 23, with the rise of Nazism in the late 1920s, his composing virtually came to an end, and his musical works, which had been very popular, were suppressed and nearly forgotten.

The following work by Leon Jessel is contained in my collection:

Parade of the Wooden Soldiers.

 

Our Journey Away From School

Our Journey Away From School
by Rebecca M. Penoyer in The Link Homeschool Newspaper (Volume 5 Issue 3)

Our girls loved school! It was a private, parent-sponsored, Christian school. It had a spacious, beautiful, state-of-the-art campus, complete with computers, athletic fields, and a nature center tucked into the adjoining woods. The members of the faculty were all nice people, who loved what they were doing and took an interest in each individual child. Every teacher was certified, and each brought fresh approaches to classroom instruction.

So … why did we choose to -homeschool? Our story begins in the 1995-96 school year.

Our daughter Beth was a bright, sensitive, gregarious child who loved to play violin and soccer. She had been attending the school since preschool, and always had the privilege of being taught by loving teachers who were truly interested in her. Her lack of organization sometimes affected her grades, but her happy-go-lucky spirit remained undaunted … until the fourth grade.

Read More:

http://www.homeschoolnewslink.com/homeschool/articles/vol5iss3/OurJourney_v5i3.shtml

Science Hill School, Alliance, OH

Science Hill School, 11810 Beeson St NE, Alliance, OH

Science Hill School

11810 Beeson St.

Alliance, OH

Sixty years after it closed its doors to regular classroom activity, Science Hill School stands as an educational treasure.  The building, located at 11810 Beeson St. N.E. in Lexington Township, which was added to the National Register of Historic Places in 1994, was constructed in 1869.   The first directors were local farmers, and the first teacher in 1877 was Wesley Knoll, according to historic documents. Irma Buckles was the last teacher to oversee education at the school, which had housed first through third grades before Marlington School District built Lexington Elementary School.  Science Hill was a pretty standard school. Like other schools at the time, the building was constructed for mobility. This particular building was originally located about a half mile down Beeson Street, where Science Hill Community Church sits now.   Preservationists took notice almost immediately of an effort to save the building after it ceased to be used as a school, when five people began the first Science Hill Historical Society in August 1957. The group eventually grew to 80, but numbers dwindled as the members aged and the group disbanded in 1975.  An amateur radio group called the building home for over a decade in exchange for keeping up the lawn, but after that activity inside the one-room schoolhouse once again ceased.   Soon after, interest in the building again took hold and the Science Hill Historical Society was reincarnated.  Furnished with many original pieces, like the teacher’s and 28 student desks as well as benches from when the facility closed in 1956, the school provides a unique look at education in the past.

Science Hill School, 11810 Beeson St NE, Alliance, OH

Maurice Jarre and “Lara’s Theme” from Dr. Zhivago

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Maurice Alexis Jarre (September 13, 1924 –March 28, 2009) was a French-born composer and conductor, one of the giants of 20th century film music, who was among the most sought-after composers in the movie industry, winning  Oscars for his powerfully evocative scores for the David Lean epics “Lawrence of Arabia, “Doctor Zhivago,” and “A Passage to India.”   Jarre was born in Lyon, France, on September 13, 1924, the son of André Jarre, a radio technical director, and his wife Gabrielle Renée (née Boullu).He first enrolled in the engineering school at the Sorbonne, but decided to pursue music courses instead. He left the Sorbonne against his father’s will and enrolled at the Conservatoire de Paris to study composition and harmony and chose percussion as his major instrument. He became director of the Théâtre National Populaire and recorded his first film score in France in 1951.  In the 1940s, his marriage to Francette Pejot, a French Resistance member and concentration camp survivor, produced a son, Jean-Michel Jarre, a French composer, performer, and music producer who is one of the pioneers in electronic music.

In 1961 Jarre’s music career experienced a major change when British film producer Sam Spiegel asked him to write the score for the 1962 epic Lawrence of Arabia, directed by David Lean.  The acclaimed score won Jarre his first Academy Award and he would go on to compose the scores to all of Lean’s subsequent films. He followed with The Train (1964) and Grand Prix (1966), both for director John Frankenheimer, and in between had another great success in David Lean’s Doctor Zhivago, which included the lyricless tune “Lara’s Theme” (later the tune for the song “Somewhere My Love”), and which earned him his second Oscar. He worked with Alfred Hitchcock on Topaz (1969); though Hitchcock’s experiences on the film were unhappy, he was satisfied with Jarre’s score.  His score for David Lean’s Ryan’s Daughter (1970), set in Ireland, completely eschews traditional Irish music styles, owing to Lean’s preferences. The song “It was a Good Time,” from Ryan’s Daughter went on to be recorded by musical stars such as Liza Minnelli. He contributed the music for Luchino Visconti’s The Damned (1969), and John Huston’s The Man Who Would Be King (1975).

Jarre was again nominated for an Academy Award for scoring The Message in 1976 for the director and producer Moustapha Akkad. He followed with Witness (1985) and Dead Poets Society (1989), for which he won a British Academy Award.  In the 1970s and 1980s, Jarre turned his hand to science fiction, with scores for The Island at the Top of the World (1974), Dreamscape (1984), Enemy Mine (1985), and Mad Max Beyond Thunderdome (1985).  In 1990 Jarre was again nominated for an Academy Award scoring the supernatural love story/thriller Ghost. His music for the final scene of the film is based on “Unchained Melody” composed by fellow film composer Alex North.   Other films for which he provided the music include A Walk in the Clouds (1995), for which he wrote the score and all of the songs, including the romantic “Mariachi Serenade.”  Also to his credit is the passionate love theme from Fatal Attraction (1987), and the moody electronic soundscapes of After Dark, My Sweet (1990).

Although he composed several concert works, Jarre is best known for his film scores.  Other notable scores include The Train (1964), Mohammad, Messenger of God (1976), and Lion of the Desert (1981).

Jarre’s television work includes the score for the miniseries Jesus of Nazareth (1977), directed by Franco Zeffirelli, Shōgun (1980), and the theme for PBS’s Great Performances.  Numerous additional awards include ASCAP’s Lifetime Achievement Award in 1993.  Jarre pointed out that his electronic score for Witness was actually more laborious, time-consuming and expensive to produce than an orchestral score. Jarre’s electronic scores from the 80s also include Fatal Attraction, The Year of Living Dangerously, Firefox and No Way Out. A number of his scores from that era also feature electronic / acoustic blends, such as Gorillas in the Mist, Dead Poets Society, The Mosquito Coast and Jacob’s Ladder.  Jarre scored his last film in 2001, a television film about the Holocaust entitled Uprising.  Maurice Jarre died on March 28, 2009, at his home in Malibu, CA, after a short battle with cancer. He was 84.

My collection includes the following works by Maurice Jarre:

Dr. Zhivago (1965): Lara’s Theme (Somewhere, My Love).

Lawrence of Arabia (1962): Overture and Main Theme).