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
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
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