Well, dear readers, I must write these here notes in a hurry, for I just got home from a long recording session and I am quite tired and quite need my beauty sleep. So let us neither tarry nor dally or dally nor tarry, let us leap like a gazelle with low blood sugar. Yesterday was quite an interesting day. For example, I got up. That was interesting. I actually had a great night’s sleep, which I really needed. I answered e-mails, had a couple of telephonic conversations, did a two-mile jog, did some work on the computer, did some errands and whatnot and then got ready to leave. I left. I went and listened to some tapes for upcoming Kritzerland releases. After hearing the music of one, I am now on the fence about whether I want to do it or not – I only heard three cues, so I’m going to transfer it and listen to the whole thing – if it’s a really short score, then I might try to find something interesting to put with it that would make it more attractive as a release. With the other project, we first put up the LP master – which sounded much better than the CD that was previously released, for the same reasons as Promises, Promises – the previous CD wasn’t the original LP mix, it was a re-mix. Then we put up the sixteen-track session tapes and the sound so blew me away that we’re going to do a similar presentation to Promises – a two CD set with the original LP mix and a new mix which will not be so swimming in really bad and heavy reverb, and which has a better blend between singers and band. It will require a little more work than Promises because Promises’ session masters were edited, which these aren’t. Therefore, we have to recreate the edits – if the former CD release could do it, we should be able to, as well. I have their track sheets and the pick-ups are noted on the boxes, too. Since I’m very fond of this score, which I don’t think ever gets quite its due, I think a redo like this is appropriate. I don’t think it will sell as quickly as Promises, but the first CD is out of print and commands pretty good money these days. Also, I have the feeling that I can assemble an amusing bonus track of studio banter – I heard some while listening that was pretty funny.
After that, I went over to Astroburger, where I met Brad Oscar for an early dinner. We had a lot of fun chatting, and it was so great to have their bacon cheeseburger, which is really great. I also had the zucchini fries with special white sauce, also great. And he’s arranged a ticket for me to see Young Frankenstein’s closing performance on Sunday night, so that’s fun.
Then I moseyed on over to Westlake Audio to do the recording session for the commercials of Leap of Faith. Michael Kosarin had put together two songs from the show into a three-part medley. As we were about to begin recording the band, Alan Menken arrived and some adjustments to the feel of one of the parts was made and that took some time, but everyone was pleased with the results. Alan is a very nice fellow and I kept the session light and fun, and there was never any tension whatsoever. The entire session did run late and took longer than it should have, but that happens sometimes. It didn’t go over by that much, probably ninety minutes all told. Also in attendance was a wonderful gal named Kappy (she was wrangling everyone, but is a director and dramaturge in her real life), my two contacts from the Center Theatre Group, director Rob Ashford (who really only conversed with those who had something to do with the show), and lyricist Glenn Slater, who I was very happy to meet and who I liked a lot. The music is really infectious and the band was fantastic – I really liked the conductor, too. Alan’s agent and my good pal Richard Kraft showed up, and that was a good thing, actually. I also introduced Alan to an iPad app that he absolutely flipped over, called Talking Tomcat – it’s really fun, and Alan loved it and is telling his daughter about it and everyone else. Check it out in the App Store.
After we finished the band, then the cast went to work. It wasn’t the full cast, but the singers who were there were excellent and everything moved along at a steady clip. We finished with them, and then leading man Raul Esparza went in and nailed his solo lines very quickly. Then everyone left and my engineer got the mixes up and Michael Kosarin and I finessed them and that was that. I’m really looking forward to seeing the show on opening night – I’m assured I’ll have great seats and, of course, I’ll be at the partay.
Well, why don’t we all click on the Unseemly Button below because I am falling asleep as I’m typing these here notes.
Today, I hope to sleep in, I hope to do a little jog, I hope to pick up the couple of things at the framers, and I hope to approve our new master and write the blurb and get it all ready for Monday’s announcement. Other than that, I’m takin’ it easy and bidin’ my time ’cause that’s the kind of Guy I’m.
Tomorrow, the day is pretty free and then I’m going to see Young Frankenstein at the Pantages Theater. I’m looking forward to it. Next week is, as always, busy as can be, with meetings, meals, and the major prep of our first Gardenia show. I’ve got to get mp3s and sheet music to everyone, we have to ascertain if keys are good or need to be changed and there’s just a ton of work to do, including spreading the word, which I hope all you dear readers will help do via your various and sundried Facebook pages.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, do some sort of jog, I must pick up two items at the framers, I must write a blurb, I must approve a master, and I must relax and smell the roses or the baumkuchen. Today’s topic of discussion: What are your all-time favorite pastries, and let’s hear loving descriptions of them and your favorite places you’ve eaten them. Let’s have loads of lovely postings, shall we, while I’m takin’ it easy and bidin’ my time ’cause that’s the kind of Guy I’m.