Two Miles High Music

Known for his robust orchestral scores laced with lush sounds, James Newton Howard's compelling music for King Kong is a treasure destined to become another classic in his rich catalogue. Tracks such as "A Fateful Meeting" and "Defeat Is Always Momentary" take the listener on an urgent voyage to an undiscovered land, while "It's Deserted" and "Beautiful" evoke the lyrical beauty of the landscape created by Jackson and inhabited by the films memorable characters. Howard perfectly compliments the feeling of suspense, love and compassion the film so powerfully conveys.James Newton Howard is one of Hollywood's most versatile and prolific composers, with more than 90 films to his credit. He has received six Oscar nominations, two Golden Globe nominations and one Grammy nomination. In addition, he has won 28 ASCAP Awards for film and television shows scored from 1994 to 2005. His credits include films as diverse as The Sixth Sense, Signs, The Fugitive, Pretty Woman, The Prince of Tides, Grand Canyon, Dave, Primal Fear, Glengarry Glen Ross, The Devil's Advocate, and Dinosaur. Howard's more recent projects include Batman Begins; The Interpreter; The Ring 2; Miss Congeniality 2; Collateral; The Village, for which he received his sixth Oscar nomination for Best Original Score; Hidalgo; and the live-action Peter Pan.

James Newton Howard reportedly got the King Kong gig as a last-minute replacement for Howard Shore (who of course had worked on King Kong director Peter Jackson's Lord of the Rings series). The good news is that Howard still managed to write an honorable score; the bad news is that it's no more than honorable. For some, the biggest disappointment may be that Howard didn't find more inspiration in the film's 1930s setting. Once in a while he inserts a vaguely jazzy flourish (the brief clarinet passages in "Defeat Is Always Momentary" for instance) but the period detail is kept to a minimum. Having more may have helped give the score a shot of much-needed individuality. Action scenes, for instance, are set to the opulently orchestrated, frantic percussive rumble that is Hollywood short-hand for, well, action scenes. "Head Towards the Animals" and "Beauty Killed the Beast III" are just the most typical examples of that style: Howard gives these bravura numbers the requisite pounding intensity, but can we be blamed for feeling that we've heard them dozens of times before? Similarly, the composer sticks to the expected when he needs to get more contemplative, as on "A Fateful Meeting" (soothing strings, soothing clarinet) or "Beautiful" (flutes to suggest the exotic locale). In short, this album is everything you expect it to be. Which sometimes isn't quite enough. --Elisabeth Vincentelli

King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity - not just the feel - of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu. The Mothers of Invention had previously recorded three of the six pieces and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin.

Exclusive Hong Kong tracklisting. Limited two CD digipak pressing. Michael Jackson turned 50 on August 29th 2008 and Sony/BMG Music Entertainment are giving his fans across the world a chance to select a unique track listing for their local market. This version does just that. The set will include rare tracks, a previously unreleased track along with a new megamix from Jason Nevins.Sony/BMG. 2008.

Music Composed and Conducted by John Barry. King Kong is one of Hollywood's most legendary creations, from the groundbreaking 1933 original to the highly anticipated Peter Jackson remake. In 1976 producer Dino De Laurentiis struck box-office gold with his own incarnation of the story, starring Jeff Bridges, Jessica Lange, and a colossal forty-foot model of Kong. The film was a massive production with ambitious special effects. Scoring the remake of one of the most famous films in Hollywood history was one of the few composers with the clout and talent to forge ahead with his own style: John Barry. The original's Max Steiner had practically invented the film score genre with the project, yet Barry was known for a completely different approach -- eschewing "Mickey Mousing" in favor of melody, mood and large-scale symphonic structures.