The Pleasure of his Company
Alfred Newman
" The score isn't necessarily as catchy and instantly enjoyable as some, but in a quiet room with low lights, it's an animal in itself and can take you on a pleasant journey. "Written by Justin Boggan - Review of the regular release
While I've not seen the film and therefore cannot comment on it, the score Alfred Newman composed is lush, old-fashioned, with touches of whimsy. Some lounge and swing cues are thrown into the mix. There's a number of styles used in the score, if only briefly in some instances.
Part of the main theme, when on rare occasion played on piano, has notes very reminiscent of the song "As Time Goes By" (the famous reframe, "You Must Remember This"). The score isn't necessarily as catchy and instantly enjoyable as some, but in a quiet room with low lights, it's an animal in itself and can take you on a pleasant journey.
"Prelude/Lullaby in Blue"
Opens with some lush orchestra which briefly hints at the classic wedding song, "Bridal Chorus" (sometimes referred to as "Here Comes the Bride"), then continues onward. Despite the forward slash, the cue doesn't change styles and remains as one forward-moving piece that eventually ends in delicate decrescendo and single church bell. A highlight track.
"Pogo Poole"
The cue immediately opens with an Asian style sound that changes into a punchy and whimsical piece with strings, vibraphone and brass, something along the lines of "Hooray for Hollywood!"
"I Am the Essential Guest"
Is an easy going lounge piece with sax and cupped brass that could easily underscore a fancy party.
"Portraits From the Past"
Vibes and woodwinds open the eerie and somewhat delicate dreamy cue which transitions into a slower pace introducing piano and strings. The cue is in no rush and stays in the mood created. A highlight track.
"Hello Katherine"
Another punchy and whimsical piece with pizzicato strings playing around here and there.
"A Tender Reunion"
Once again features the dreamy vibes, this time using strings instead of woodwinds, for a kind of romantic feel nearly lost in today's modern scoring.
"Toy's Radio"
A swing-band piece with brass shaking and notes punching, with the beat in the background.
"So Little Time"
The soft love theme returns with some vibes, but in a more limited capacity, and strings playing in a wistful manner.
"Country Club Time"
Congas, sax, trumpet, and various instruments create a tropical dance piece with a beat, unlike the rest of the score.
"Fisherman's Wharf -- San Francisco/The Picnic/The Cable Car"
The "Hooray for Hollywood!" type scoring returns but abruptly transitions into an Italian piece for ethnic guitar, which then transitions into a playful piece mainly for strings, once again transitioning in to the "Hooray for Hollywood!" swing, ending the cue. Not a highlight track. Carl Stalling did better of transitioning into various style.
"Chez Allain"
Has a tango dance feel with strings and underlining accordion and strumming ethnic guitar. The piece ends abruptly. The track is a highlight of the release.
"Time, the Enemy"
Brings back the main theme from the score, but in a more downtrodden feel, tugging suggesting characters spending their final moments together knowing it leads to a final good-bye.
"For Old Time's Sake"
Plays around with the theme by Alfred Newman and Sammy Cahn before ending quickly.
"Just Testing"
Warm, with a yearning in the low octave ranges. Another highlight track.
"I'm Alone -- Parts 1 and 2/Pogo's Farewell"
In the finale cue of the score, the good-bye plays slowly, again utilizing the Sammy Cahn song theme. After the music stops, a final leads out with the punchy brass from earlier in the score, this time aided by timpani and cymbal crash which brings the score to an end.
BONUS TRACKS:
"Lullaby in Blue" (demo)
The demo cue is more loungy with tinkling piano in the background.
"The Pleasure of His Company" (Demo 1)
A string rendition of the theme with occasional string pluck that also delves into other colors and ideas not heard in the main score body. The lovely doubling of soft brass playing the theme, followed by a solo cello warmly playing it as well, is lovely, and when you think that's enough it transitions into different brass with the underlining solo cello reprising the theme in a grander feel. A great highlight track and a perfect example of why demos should be part of any limited edition presentation (perhaps the best cue on the CD). Indeed, this is one of the cues you can listen to a sample of on Kritzerland's website.
"The Pleasure of His Company" (Demo 2)
Another lounge rendition with vibes, but this time with lyrics in a mid-range somewhat sultry female voice, with a reframe line that is the name of the song. A little after halfway into the piece, there an orchestral interlude but in the same style as the backing score from earlier in the piece. If you enjoy songs like this, this should be enjoyable, otherwise it's a skipper.
"Wedding Reception"
There no indication of this being a demo track or having not been used on the back tray art. My assumption is it was source music. But what's confusing is the track plays just like any of the other lounge score tracks, just at a faster tempo.
"Country Club Dance #1"
With a light swing band and certain boogey feel, the cue lives up to the name of being for a dance sequence.
"Country Club Dance #2"
A faster lounge piece with some brass occasionally punching in and even playing the theme and some sax puffs as well. The AFM notes posted on the Kritzerland site indicate six saxophones used, but I'm not sure if simultaneously, including one Bennett Carter (perhaps the one and same film/TV composer Benny Carter).
"Terrance in the Fog"
Another small ensemble band-like piece, with saxes interpreting the theme some.
"Reception Waltz Medly"
The waltz plays at a fairly moderate pace with a solo violin playing over and piano tinkling around in the back.
"That Old Black Magic" (pre-recording)
I'm not sure if this is based on the song by the same name. It's a fast piece with quick guitar strum, low string pluck and piano roaming about. Nothing particularly memorable.
"That Old Black Magic à la Previn" (pre-recording)
The same thing but with some minor differences. André Previn worked on the song by the same name so one can assume these pieces are different arrangements of the famous song.
"Personality" (pre-recording)
While not the same cue as the previous two tracks, it owes a lot to the two and is like a slower version.
"Easy Living and Lover Medley" (pre-recording)
The backing is like the previous three cues and also features piano, but the piano is more melodic. It's the most enjoyable presentation of the cues like it.
"The Champagne Waltz and Lover Medley" (pre-recording)
The waltz has sort of the counterpart structure of the "Blue Danube Waltz", only with guitar and low string pluck (double bass?) in a faster tempo. Along with accompanying piano, a solo violin plays in a manner of being ad-libbed.
No hidden bonus track. When a user at the Film Score Monthly message board commented on the bonus cues, like the waltzes, were a bit much, Kritzerland head Bruce Kimmel said that's why they were included as bonus cues.
The score was issued by Kritzerland and limited to 1,000 copies. Though from 1961, the mastering of the score makes it sounds as good as if it had came from the early '80's. The liner notes aren't very long but a number of stills are in the booklet of only four pages. A good deal of technical credits are in the back, like orchestrators, where & when it was recorded, etc. The Kritzerland website has a link to the full AFM list of session players. No orchestra is credited, though having been recorded at Paramount, one can assume that orchestra or hand-selected players from it were used.
If you're a die-hard Alfred Newman fan, this is certainly for you. If you only appreciate him for some of his work, use the samples on Kritzerland's site beforehand. At 1,000 copies the score probably won't stick around forever.
Track Listing
1. Prelude / Lullaby in Blue (3.00)
2. Pogo Poole (1.02)
3. I Am the Essential Guest (1.23)
4. Portraits From the Past (3.16)
5. Hello Katherine (1.15)
6. A Tender Reunion (3.16)
7. Toy's Radio (Hawaiian War Chant) (1.04)
8. So Little Time (4.03)
9. Country Club Samba (0.42)
10. Fisherman's Wharf – San Francisco / The Picnic / The Cable Car (1.51)
11. Chez Allain (2.03)
12. Time, the Enemy (5.01)
13. For Old Time's Sake (1.26)
14. Just Testing (Kitchen Scene) (1.26)
15. I'm Alone – Parts 1 and 2 / Pogo's Farewell (4.58)
Bonus Tracks
16. Lullaby in Blue (Demo) (2.56)
17. The Pleasure of His Company (Demo 1) (4.10)
18. The Pleasure of His Company (Demo 2) (3.24)
19. Wedding Reception (1.24)
20. Country Club Dance #1 ("Personality") (2.45)
21. Country Club Dance #2 ("Easy Living" and "Lover") (3.52)
22. Terrace in the Fog ("That Old Black Magic") (1.39)
23. Reception Waltz Medley ("The Champagne Waltz" and "Lover") (1.42)
24. That Old Black Magic (pre-recording) (1.39)
25. That Old Black Magic à la Previn (pre-recording) (1.39)
26. Personality (pre-recording) (1.47)
27. Easy Living and Lover Medley (pre-recording) (3.10)
28. The Champagne Waltz and Lover Medley (pre-recording) (1.56)
Total Length: 67.49
Part of the main theme, when on rare occasion played on piano, has notes very reminiscent of the song "As Time Goes By" (the famous reframe, "You Must Remember This"). The score isn't necessarily as catchy and instantly enjoyable as some, but in a quiet room with low lights, it's an animal in itself and can take you on a pleasant journey.
"Prelude/Lullaby in Blue"
Opens with some lush orchestra which briefly hints at the classic wedding song, "Bridal Chorus" (sometimes referred to as "Here Comes the Bride"), then continues onward. Despite the forward slash, the cue doesn't change styles and remains as one forward-moving piece that eventually ends in delicate decrescendo and single church bell. A highlight track.
"Pogo Poole"
The cue immediately opens with an Asian style sound that changes into a punchy and whimsical piece with strings, vibraphone and brass, something along the lines of "Hooray for Hollywood!"
"I Am the Essential Guest"
Is an easy going lounge piece with sax and cupped brass that could easily underscore a fancy party.
"Portraits From the Past"
Vibes and woodwinds open the eerie and somewhat delicate dreamy cue which transitions into a slower pace introducing piano and strings. The cue is in no rush and stays in the mood created. A highlight track.
"Hello Katherine"
Another punchy and whimsical piece with pizzicato strings playing around here and there.
"A Tender Reunion"
Once again features the dreamy vibes, this time using strings instead of woodwinds, for a kind of romantic feel nearly lost in today's modern scoring.
"Toy's Radio"
A swing-band piece with brass shaking and notes punching, with the beat in the background.
"So Little Time"
The soft love theme returns with some vibes, but in a more limited capacity, and strings playing in a wistful manner.
"Country Club Time"
Congas, sax, trumpet, and various instruments create a tropical dance piece with a beat, unlike the rest of the score.
"Fisherman's Wharf -- San Francisco/The Picnic/The Cable Car"
The "Hooray for Hollywood!" type scoring returns but abruptly transitions into an Italian piece for ethnic guitar, which then transitions into a playful piece mainly for strings, once again transitioning in to the "Hooray for Hollywood!" swing, ending the cue. Not a highlight track. Carl Stalling did better of transitioning into various style.
"Chez Allain"
Has a tango dance feel with strings and underlining accordion and strumming ethnic guitar. The piece ends abruptly. The track is a highlight of the release.
"Time, the Enemy"
Brings back the main theme from the score, but in a more downtrodden feel, tugging suggesting characters spending their final moments together knowing it leads to a final good-bye.
"For Old Time's Sake"
Plays around with the theme by Alfred Newman and Sammy Cahn before ending quickly.
"Just Testing"
Warm, with a yearning in the low octave ranges. Another highlight track.
"I'm Alone -- Parts 1 and 2/Pogo's Farewell"
In the finale cue of the score, the good-bye plays slowly, again utilizing the Sammy Cahn song theme. After the music stops, a final leads out with the punchy brass from earlier in the score, this time aided by timpani and cymbal crash which brings the score to an end.
BONUS TRACKS:
"Lullaby in Blue" (demo)
The demo cue is more loungy with tinkling piano in the background.
"The Pleasure of His Company" (Demo 1)
A string rendition of the theme with occasional string pluck that also delves into other colors and ideas not heard in the main score body. The lovely doubling of soft brass playing the theme, followed by a solo cello warmly playing it as well, is lovely, and when you think that's enough it transitions into different brass with the underlining solo cello reprising the theme in a grander feel. A great highlight track and a perfect example of why demos should be part of any limited edition presentation (perhaps the best cue on the CD). Indeed, this is one of the cues you can listen to a sample of on Kritzerland's website.
"The Pleasure of His Company" (Demo 2)
Another lounge rendition with vibes, but this time with lyrics in a mid-range somewhat sultry female voice, with a reframe line that is the name of the song. A little after halfway into the piece, there an orchestral interlude but in the same style as the backing score from earlier in the piece. If you enjoy songs like this, this should be enjoyable, otherwise it's a skipper.
"Wedding Reception"
There no indication of this being a demo track or having not been used on the back tray art. My assumption is it was source music. But what's confusing is the track plays just like any of the other lounge score tracks, just at a faster tempo.
"Country Club Dance #1"
With a light swing band and certain boogey feel, the cue lives up to the name of being for a dance sequence.
"Country Club Dance #2"
A faster lounge piece with some brass occasionally punching in and even playing the theme and some sax puffs as well. The AFM notes posted on the Kritzerland site indicate six saxophones used, but I'm not sure if simultaneously, including one Bennett Carter (perhaps the one and same film/TV composer Benny Carter).
"Terrance in the Fog"
Another small ensemble band-like piece, with saxes interpreting the theme some.
"Reception Waltz Medly"
The waltz plays at a fairly moderate pace with a solo violin playing over and piano tinkling around in the back.
"That Old Black Magic" (pre-recording)
I'm not sure if this is based on the song by the same name. It's a fast piece with quick guitar strum, low string pluck and piano roaming about. Nothing particularly memorable.
"That Old Black Magic à la Previn" (pre-recording)
The same thing but with some minor differences. André Previn worked on the song by the same name so one can assume these pieces are different arrangements of the famous song.
"Personality" (pre-recording)
While not the same cue as the previous two tracks, it owes a lot to the two and is like a slower version.
"Easy Living and Lover Medley" (pre-recording)
The backing is like the previous three cues and also features piano, but the piano is more melodic. It's the most enjoyable presentation of the cues like it.
"The Champagne Waltz and Lover Medley" (pre-recording)
The waltz has sort of the counterpart structure of the "Blue Danube Waltz", only with guitar and low string pluck (double bass?) in a faster tempo. Along with accompanying piano, a solo violin plays in a manner of being ad-libbed.
No hidden bonus track. When a user at the Film Score Monthly message board commented on the bonus cues, like the waltzes, were a bit much, Kritzerland head Bruce Kimmel said that's why they were included as bonus cues.
The score was issued by Kritzerland and limited to 1,000 copies. Though from 1961, the mastering of the score makes it sounds as good as if it had came from the early '80's. The liner notes aren't very long but a number of stills are in the booklet of only four pages. A good deal of technical credits are in the back, like orchestrators, where & when it was recorded, etc. The Kritzerland website has a link to the full AFM list of session players. No orchestra is credited, though having been recorded at Paramount, one can assume that orchestra or hand-selected players from it were used.
If you're a die-hard Alfred Newman fan, this is certainly for you. If you only appreciate him for some of his work, use the samples on Kritzerland's site beforehand. At 1,000 copies the score probably won't stick around forever.
Track Listing
1. Prelude / Lullaby in Blue (3.00)
2. Pogo Poole (1.02)
3. I Am the Essential Guest (1.23)
4. Portraits From the Past (3.16)
5. Hello Katherine (1.15)
6. A Tender Reunion (3.16)
7. Toy's Radio (Hawaiian War Chant) (1.04)
8. So Little Time (4.03)
9. Country Club Samba (0.42)
10. Fisherman's Wharf – San Francisco / The Picnic / The Cable Car (1.51)
11. Chez Allain (2.03)
12. Time, the Enemy (5.01)
13. For Old Time's Sake (1.26)
14. Just Testing (Kitchen Scene) (1.26)
15. I'm Alone – Parts 1 and 2 / Pogo's Farewell (4.58)
Bonus Tracks
16. Lullaby in Blue (Demo) (2.56)
17. The Pleasure of His Company (Demo 1) (4.10)
18. The Pleasure of His Company (Demo 2) (3.24)
19. Wedding Reception (1.24)
20. Country Club Dance #1 ("Personality") (2.45)
21. Country Club Dance #2 ("Easy Living" and "Lover") (3.52)
22. Terrace in the Fog ("That Old Black Magic") (1.39)
23. Reception Waltz Medley ("The Champagne Waltz" and "Lover") (1.42)
24. That Old Black Magic (pre-recording) (1.39)
25. That Old Black Magic à la Previn (pre-recording) (1.39)
26. Personality (pre-recording) (1.47)
27. Easy Living and Lover Medley (pre-recording) (3.10)
28. The Champagne Waltz and Lover Medley (pre-recording) (1.56)
Total Length: 67.49