World premiere recordings of two elusive Jerry Goldsmith scores! Legendary composer creates his very first theatrical film score with Black Patch, low-key 1957 western for Warner Bros. with George Montgomery, Leo Gordon, Sebastien Cabot, Diane Brewster. Allen Miner directs, Gordon scripts, effective black & white photography by Edward Colman (of Mary Poppins fame.) Original session elements are missing in action, but happily Goldsmith’s manuscript scores survive unscathed, allowing full reconstruction of musician parts for all-new recording made in October 2021. Composer scores for standard orchestra but omits trumpets, lending finished work a brooding, darker edge. Extremely well-written music offers masterful architecture from the get-go, a Goldsmith trademark. Several motifs work together, independently both in full and in fragmentary form. Dramatic ideas abound but centerpiece is haunting theme for three principal characters forming romantic triangle. Story element finds all three people care for each other, lending tragic overtones to the drama. Goldsmith reflects sadness with moving minor-key theme, heard sparingly yet very memorably, particularly during “Love Reunited” and masterfully for the “Finale”, especially in extended version prepared by Leigh Phillips. Shorter film version also included. Another highlight is energetic “The Fight”, which offers listeners Goldsmith’s very first movie action cue! Also fun to note several ideas that become Goldsmith signatures throughout his career: Aggressive rhythms instead of musical chaos and dissonance to highlight action, staccato left-hand piano figures, recurring motifs creating solid musical architecture, vivid snare drum writing, many others. Complete 35-minute score plays first, then Goldsmith’s brief but powerful 1972 score for The Man unfolds. Here, James Earl Jones leads cast as first African American President of the United States. Rod Serling scripts from Irving Wallace best-seller, Joseph Sargent directs. Goldsmith scores for orchestra with substantial brass section but this time drops violins, leaving violas as his upper string sonority. Gentle phrases do make appearances but it is dynamic, imposing brass fanfares and Americana vernacular that dominates. Magnificent highlights include music for scenes of iconic Lincoln Memorial, White House, presidential portraits in the Oval Office plus powerhouse opening and closing credits. Complete 16-minute score authentically reconstructed by Leigh Phillips in spectacular fashion. Simon Rhodes captures every detail in crisp recording, authoritative performance by William T. Stromberg leading Royal Scottish National Orchestra. Frank DeWald provides informative liner notes, Jim Titus offers dramatic artwork to compliment Intrada’s previous Dial M For Murder recording. Kickstarter campaign yields vital addition to ever-growing library of Goldsmith film music recordings! Two sensational albeit vastly contrasting Jerry Goldsmith film scores given definitive performances!