Alphabet St.

Hey, those letters are trying to say "cougars." I didn't know Prince likes him some Roscoe's Chicken and Wattles.

I'm recording a bunch of new segments for the Fistful of Soundtracks channel that I'll begin streaming this Tuesday. They'll be put on a loop for the rest of April.

During these segments, I'll be introing 26 film or TV score tracks, and each one will represent a different letter in the alphabet. It'll be like A Fistful of Soundtracks-meets-Children's Television Workshop. (I don't care that it's now called Sesame Workshop. It's always going to be CTW to me, just like how I always called it Candlestick Park, even when it was renamed 3Com Park and then Monster Park before wisely reverting to its original name.)

Also, in remembrance of Maurice Jarre(*), I'll be introing a couple of Jarre tracks that aren't "Lara's Theme" or the Lawrence of Arabia theme--the Zhivago and LOA themes are both classic but a bit overplayed.

(*) The beyond, deux blog has given my brief post about Jarre a nice mention. Thanks, beyond, deux!

There won't be any more new episodes of A Fistful of Soundtracks: The Series. I'm eschewing the episodic format for something more Scion Radio-like. You'll still be able to hear past eps of AFOS: The Series Wednesdays at 10am and 3pm Pacific, starting this Hump Day.

Maurice Jarre (1924-2009)

The composer of rich and powerful scores for epics like Lawrence of Arabia, Doctor Zhivago, Grand Prix(*), the Jesus of Nazareth miniseries and Mad Max Beyond Thunderdome has died. Jarre was 84. When he accepted an honorary Golden Bear for lifetime achievement at the Berlin Film Festival in February, he was confined to a wheelchair and looked very frail.

(*) Besides the awesome racing sequences and Jarre's energetic, if a bit repetitive, score, another highlight of Grand Prix is the eye candy--Françoise Hardy and Jessica Walter. Lucille Bluth was quite a hottie back then.

Though he dabbled in the small screen (Nazareth, Shogun), Jarre told interviewer James Fitzpatrick he didn't enjoy writing TV scores because "everything is too hurried with poor sound and nobody caring about wrong notes." Monsieur Jarre, if only you were still alive because I would have liked you to meet Michael Giacchino, Bear McCreary and Jeff Richmond.

Jarre's most lasting collaborations were with David Lean (Arabia, Zhivago), Peter Weir (Witness, Dead Poets Society) and John Frankenheimer (Grand Prix, The Train). The father of New Age musician Jean Michel Jarre and Glory screenwriter Kevin Jarre told Film Score Monthly he admired Mozart and his music because "The harmony is so perfect, and the orchestration is so simple and natural. You listen to Mozart and you get a great lesson in humility. To me his music is perfect."

So were many of Jarre's film scores.