John Williams - At The Movies - The Dallas Winds (2LP, Half-speed Mastering)
John Williams - At The Movies - The Dallas Winds (2LP, Half-speed Mastering)
John Williams - At The Movies - The Dallas Winds (2LP, Half-speed Mastering)
John Williams - At The Movies - The Dallas Winds (2LP, Half-speed Mastering)

John Williams - At The Movies - The Dallas Winds (2LP, Half-speed Mastering)

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Composed by John Williams (A1-D3), Francis Scott Key (D4), John Stafford Smith (D4)

Arranged by John Williams (D4)

The Dallas Winds

Christopher Martin - Trumpet

Jerry Junkin - Conductor


2LPs, gatefold jacket

Original analog Master tape : YES

Half-Speed Mastering

Heavy Press : 180g

Record color : black

Speed : 33RPM

Size : 12'’



Record Press : Record Technology Inc

Label : Reference Recordings

Original label : Reference Recordings

Recorded July 15­17, 2016 at Meyerson Symphony Center, Dallas, Texas

Recorded by Sean Royce Martin

Engineered and mastered by Keith O. Johnson

Produced by Donald J. McKinney

Originally released in 2018 (as an SACD).

Reissued in Sept 2019 (first time on LP)


Side A:

  1. Olympic Fanfare And Theme
  2. Superman March
  3. The Cowboys Overture

Side B:

  1. Adventures On Earth from E.T.: The Extra-Terrestrial
  2. With Malice Toward None from Lincoln
  3. March from 1941

Side C:

  1. Scherzo For X Wings from Star Wars: The Force Awakens
  2. The Jedi Steps And Finale from Star Wars: The Force Awakens
  3. Star Wars (Main Title)

Side D:

  1. Imperial March from The Empire Strikes Back
  2. Excerpts from Close Encounters Of The Third Kind
  3. Theme from J.F.K.
  4. The Star-Spangled Banner


Awards :

2019 Best Engineered, Classical GRAMMY® Nominee

2019 Best Classical Compendium GRAMMY® Nominee

TAS Super LP List! Special Merit: Film and Broadway Score


Reviews :

« Once you catch your breath, you’ll also discover that Williams has a few favorite tricks up his sleeve. When he’s not dazzling you with his undeniably rousing array of catchy, action-narrating themes, he’ll sometimes throw in otherworldly interludes that, amidst chords of wonderment, may even offer hints of reflection.” Jason Victor Serinus, Sterophile

« The sound is everything you want in an eye-popping audiophile recording, while maintaining artistic integrity. The pyrotechnics are especially evident on the Lucas film-based music, where the percussion has you wishing you had opted for one size larger in speakers. Dynamics swing from dead quite black backgrounds to huge crescendos of percussion and trumpets in the 'Imperial March' appropriate for the theme song of one of the twentieth century's darkets villians. This is the ideal record set to pull out to get your audiophile friends' juices flowing - just skip the wine and cheese and fill up the popcorn bowl, and don't skimp on the volume level. » Dennis Davis, Hi-Fi+

« Various collections of music by John Williams are available, and most of them involve their original orchestral scores. You might wonder whether you need a version for wind orchestra, but wonder no more: this reading by the Dallas Wind Symphony and its longtime conductor, Jerry Junkin, hits the spot in every way. You might acquire this album for the audiophile acoustics alone: the fine Meyerson Symphony Hall in Dallas has never sounded as good as it does here, in the hands of Reference Recordings engineers who have worked there for some years, and who have worked overtime to render the big spaces of Williams' music. And what spaces they are! If anything, the wind orchestra reading emphasizes Williams' big-boned brass writing, throwing it into sharp relief. The emphasis is set at the beginning by the Olympic Fanfare & Theme, written by Williams for the 1984 Los Angeles Olympics and qualifying as a film score by virtue of its later use in the Bobby Fischer biopic Pawn Sacrifice. That's one of several works that you'll immediately recognize, even without being able to place the films from which they come, and indeed, Williams' music may well outlast the films where it was used. The big, brass-dominated, symphonic scores form the basis of the program, but there's plenty more. There are terrific marches showing that among Williams' compositional ancestors was not only Copland but Sousa, and Williams' almost symbiotic relationship with director Steven Spielberg is explored. Sample "With Malice Toward None" from Lincoln to hear one of the products of Williams' barely diminished energy in old age. This album snared a pair of Grammy award nominations for Best Compendium and Best Engineering, both well deserved. » AllMusic Review by James Manheim

John Williams is a game changer. Early in his career he crossed the lines between music that was “art” and music that was “commercial,” and never looked back. He is one of the best known, most awarded and most successful composers in US history, and his name is inextricably connected to outstanding music for films. He has written scores for over 100 films, and his massive list of awards includes 51 Academy Award nominations and five wins, as well as 24 GRAMMY® awards. A less­-known fact is his fondness for writing, arranging and conducting wind band music. This collection of his film music includes favorites from Star Wars, Superman, JFK, ET and many more, arranged for concert performance by top­-level wind ensemble.

Brilliant performances by the Dallas Winds, were recorded in spectacular audiophile sound by Reference Recordings’ own award-winning engineering team: Keith O. Johnson and Sean Royce Martin. The engineers and album received GRAMMY® nominations in 2018 for Best Engineered Album, Classical and Best Classical Compendium for the 61st GRAMMY® Awards. John Williams At The Movies features soloist Christopher Martin, principal trumpet of the New York Philharmonic. The recording was made in Dallas Texas, in the Morton H. Meyerson Symphony Center, one of the world’s greatest concert halls, and the site of an annual Dallas Winds concert featuring the film music of John Williams.


Half-speed mastering

In half-speed mastering, the whole mastering process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.


Ratings :

AllMusic : 4 / 5 , Discogs : 4.67 / 5 , Hi-Fi+ : Recording 10/10, Music 10/10

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