Kazu Matsui (born in Tokyo June 5, 1954) is a master of the shakuhachi (traditional Japanese bamboo flute).
After traveling through Europe and India, he studied ethnic arts at UCLA before returning to Tokyo to teach.
Meanwhile he participated in the music of Willow, Legends of the Fall and Jumanji.
He also produced recordings of his wife, keyboardist Keiko Matsui and has published many solo albums.
Official site: kazumatsui.com
After the Jade expansion and the extended versions of Braveheart, Balto, Apollo 13, and Casper, here is Jumanji! This is the last score of 1995 that had not passed through the expert hands of La-La Land Records and Intrada, the two labels that have been spoiling us for years. We have listened carefully to the new edition and have this to say: - The new mastering by Douglass Fake is superb. The sound is clearer, more dynamic, as if a veil has been removed compared to the previous edition. It is easier to perceive the details of the orchestration and
On 19 April 1994, James Horner finished recording at Abbey Road Studios with the London Symphony Orchestra. He had just delivered one of the most lyrical and romantic pieces of music in his career: Legends Of The Fall. Exactly twenty-six years and two days later, at a time when the world is undergoing a profound crisis, Intrada, in collaboration with TriStar Pictures and Sony Music Entertainment has gifted us all a stellar two-disc deluxe edition, expanding the already generous original album to include the complete score and providing over 35 minutes of alternates, extended cues and film edits. Completists will
Three years after James Horner’s passing, we thought we would bring together three interviews on The Mask of Zorro, whose soundtrack album was released twenty years ago, in October 1998. The rather short first interview was the introduction to a lengthy talk with the composer on Titanic. That discussion took place on 28 November 1997 during the recording sessions of the first Zorro score and the transcription was published as The Words of James Horner #4. The second interview dates back to the fall of 1998 and coincided with the album release. The third interview finds James Horner reminiscing about The Mask of
Now that La-La Land Records has released a behemoth four-disc set that pretty much closes the book on James Horner’s Titanic, we publish an interview given by the composer to Cinéphonia Magazine in 2005. Again, please remember that the original interview tapes have been lost and so for this English text we only had the French publication to go by. As always, we have tried to stay true to James Horner’s voice. Cinéfonia Magazine: What do you remember today of the adventure that so profoundly impacted both the movie industry and film music ? James Horner : It’s always nice to go back to
It has been exactly twenty years, since the period from 8 to 19 April 1994, when James Horner recorded at Abbey Road Studios with the London Symphony Orchestra, one of the most lyrical and romantic pieces of music in his career: Legends Of The Fall. This anniversary is an opportunity to return to this score, whose impact has preserved all its strength for two decades. After Glory (1989) and before Courage Under Fire (1996), the composer met up with the American director Edward Zwick for this adaptation of Jim Harrison's eponymous short novel, which brought together on screen Brad Pitt, Anthony
Intrada's release of Clear And Present Danger is a true surprise. As the core content of the score was on the Milan soundtrack album released the same year as the film (1994), we never thought that a complete score album would pop up any time soon. After the various releases in 2009 of Walt Disney Pictures soundtracks (Something Wicked This Way Comes, Honey I Shrunk The Kids, Natty Gann) and of the long-awaited In Country a few months ago, Intrada confirms its affection towards James Horner with the creation of this double CD album for Clear And Present Danger. As Douglas
Many thanks to Regina Fake, for giving us the opportunity to write this article in the best possible conditions. “There is no such thing as an absolute masterpiece. For my part, I like Cocoon, In Country and The Spitfire Grill very much indeed.” James Horner – 1998. We can never be sufficiently grateful to Douglass Fake and Roger Feigelson for finally releasing such a favourite Horner score, for which a place in our CD shelves had been reserved for a long time. For two decades we were certain that the brilliant music of Norman Jewison’s film deserved an album release. Intrada’s