The Music of Randy Edelman: Waltzing on a High Wire (2024)

THE MUSIC OF RANDY EDELMAN: WALTZING ON A HIGH WIRE
Music composed and performed on the piano by Randy Edelman
December 8, 2024
Zankel Hall (Carnegie Hall)
New York, USA

PART 1: A REVELATION

My introduction to the music of Randy Edelman was through his film score to DRAGON: THE BRUCE LEE STORY, an iconic score that featured a theme that was used in countless movie trailers as well as being on many fans’ “best of” lists.

As a film score fanatic, I have explored Edelman’s entire film score catalogue but had never actually bothered to look outside his film music (I know, big mistake!) until after last night’s triumphant concert at Zankel Hall in Carnegie Hall.

I was not only blown away by the quantity and quality of his music in the pop world, but floored by the fact that he had connections to and written music covered by the biggest names in music, namely The Carpenters, Barry Manilow, Olivia Newton-John, Bing Crosby and a whole load more.

PART 2: A PRE-CONCERT SHOWCASE OF BRILLIANCE

Before the concert started, a selection of original recordings from Edelman’s most famous scores were played over the hall’s speaker system.  

From the top of my head, I recall hearing COME SEE THE PARADISE, THE LAST OF THE MOHICANS, DRAGON: THE BRUCE LEE STORY, and SIX DAYS SEVEN NIGHTS among others.

It was a nice way to get us in the mood for the night ahead.

PART 3: THE LOCAL CONNECTION

For the first part of the concert, Edelman focused on what he referred to as songs with a local connection – songs that he wrote based on experiences and feelings he had while living and working in New York and New Jersey.  Before each piece he would give a short anecdote about its background and then perform it at the Steinway on stage.

Needless to say, hearing Edelman perform live was a true privilege.  He is a highly accomplished pianist and vocalist, and he sings with the utmost passion and sincerity. 

And what could be better than seeing a composer perform their own music live in concert, especially stripped down to a bare-bones piano and vocal arrangement? It just gives the music an added layer of emotion and rawness that is both beautiful and honest.

PART 4: SONGS WITH NO GIMMICKS

The concert began with a touching performance of “Everything is possible” from the 1985 album, SWITCH OF THE SEASONS.

This was followed by the reflective “Don’t Forsake Me Now” from THE PACIFIC FLOW TO ABBEY ROAD.

“The Farmer,” “Seventh Avenue” and “If Love Is Real” came next, with Edelman’s impassioned performance of “If Love…” giving Olivia Newton-John’s cover a real run for its money.

Edelman then took to the microphone to state that tonight’s concert would be just him and the piano – there would be “no gimmicks.”

PART 5: YOU AND NEW ENGLAND

In his early song writing days, Edelman had written ten sad songs about a girl that dumped him (or something like that).

These songs were being performed live but weren’t long enough to satisfy his contract that stipulated they had to be over a certain number of minutes.  As a result, he needed to add one new song.

This new song was composed and performed during a set one day.  When the set came to an end, a female vocalist approached him and remarked that it was a good song that she would like to record someday.  That song was “You,” and the woman who approached him?  Karen Carpenter of The Carpenters.

While telling this anecdote Edelman became visibly moved and starting choking up on stage – I, as well as many others in the audience, did too.  It gave his eventual performance of “You” added poignancy and a strong reminder about how beautiful the song really is. 

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Talk now turned to how a song in waltz time that Edelman had written was rejected but then later accepted to become one of the most popular songs of its day.

The story goes that after his song was rejected, he hurried home but accidentally crashed into a line of people that included Joan Rivers’ pianist.  This pianist encouraged Edelman to try submitting his piece elsewhere.

Taking his advice, he pushed his way through a line of songwriters to submit his demo which amazingly was accepted!  Barry Manilow performed the song, which turned out to be “Weekend in New England,” and the rest is history.

It’s such a heartbreaking song, and to hear its original composer perform it live at the piano?  Unforgettable.  Those words and Edelman’s longing vocals really hit the spot:

And tell me, when will our eyes meet?
When can I touch you?
When will this strong yearning end?
And when will I hold you again

PART 6: SCHUMANN AND SESAME STREET

Edelman then played Robert Schumann’s “Intermezzo.”  While not an Edelman composition, the piece highlighted his classical training and talent as a concert pianist.

Joe Raposo, who composed many of the popular songs featured on SESAME STREET, was discussed next.

One day Raposo invited Edelman over to his apartment to hear a song he had written about a frog.  Admittedly, the song went right over Edelman’s head.

That song happened to be the iconic “Bein’ Green,” and Edelman gave a hilarious performance of the song that involved him adding a certain profanity beginning with “f” to the last line of the song 😊

PART 7: THE FILM SCORES

It was now time for the last twenty-five years of Edelman’s work in film scoring to shine.

Admitting with dismay that film scores always take “second place to a film,” he would be “very indulgent” tonight and perform his film scores front-and-centre on the piano.

Surprisingly, he mentioned that when he took his concerts to Europe, some accused him of stealing his music from somewhere.  What those people didn’t know is that Edelman’s scores had been licensed for use in movie trailers and other media, which is where many of these people had first heard the music and hence had the mistaken belief that his music had been plagiarized.

And with that, Edelman said he would condense twenty-five years of film scores into 9-and-a-half minutes – this is exactly what he did, and at breakneck speed!

PART 8: FILM SCORES FOR DRAMA FILMS

Gettysburg
Come See the Paradise
Dragon: The Bruce Lee Story
Dragonheart
Diabolique
The Last of the Mohicans

He didn’t explicitly say this, but based on the selection played I would categorize this section as his scores for dramatic films.

Edelman said that we would “start somber” with his “Main Title” from GETTYSBURG.

A theme full of honour and courage, he explained that it was composed with Ted Turner, founder of CNN, in mind.

Next came a tremendous run of scores starting with COME SEE THE PARASIDE, in which he played the film’s “Love Theme” followed by THAT classic trailer music, “Fire in a Brooklyn Theatre.”  I had always thought this latter piece had been composed by Hans Zimmer, but when I found out that Edelman had written it, that is pretty much when I started my quest to find every score Edelman had written.

The touching “Bruce and Linda” from DRAGON: THE BRUCE LEE STORY followed, with many in the audience soaring to the stars with a short, but inspiring performance of the “Main Theme” from DRAGONHEART.

DIABOLIQUE came next, followed by brief statements of Edelman’s epic themes from THE LAST OF THE MOHICANS including “Cora” and “The British Arrival.”  I would kill to hear this score performed live with orchestra someday – who wouldn’t!

(It’s unfortunate nothing was played from my favourite Edelman score, THE INDIAN IN THE CUPBOARD.  Maybe next time?  😊)

PART 9: FILM SCORES FOR COMEDY FILMS

Twins
Kindergarten Cop
27 Dresses
The Mask
Ghostbusters 2
My Cousin Vinny
While You Were Sleeping
Beethoven
MacGyver
Billy Madison

It was now time for the “comedy” scores.

Kicking off with the bright “Going to Santa Fe” from TWINS, he then moved to the charming “Astoria School Theme” from KINDERGARTEN COP.

Themes from 27 DRESSES and THE MASK followed.

Edelman then explained that he would next be playing music for “Bill Murray walking down the street” from GHOSTBUSTERS 2 – he was of course talking about the fun and whimsical “Venkman’s 6th Ave. Strut.”

For the theme for MY COUSIN VINNY, Edelman said that although the main characters are from the north, he scored it based on the locale of the movie – the south.

He then performed short pieces from WHILE YOU WERE SLEEPING and the classically inspired theme for the 1992 dog movie, BEETHOVEN.

Edelman’s instantly recognizable theme from MACGYVER came next, and I had to laugh when he said it was the title theme for a “pilot about a guy who could make a bomb out of a chocolate bar!”

As the piece came to an end, he exclaimed “Twenty-five years!” to which the audience roared with applause.

Thinking the night was over, a number of people filed out of the auditorium – but it was not over yet!

Edelman had one more film score anecdote to share, and my, was it a ripper.

He recalled being shown Adam Sandler’s BILLY MADISON and thinking it was the stupidest thing he had ever seen to which his agent (or director?) responded with, “you’re the perfect guy to score this!”

Edelman wrote two different pieces for a scene in which Billy Madison meets some penguins.  As a joke, one version was written in ragtime style, and this was the version first played to Sandler in the mixing booth.

To Edelman’s surprise, Sandler was bowled over by the ragtime version, pressing his face and nose up tightly against the mixing booth window and giving his approval!

PART 10: ROB COHEN IS IN THE HOUSE

Although eventually scored by BT, Edelman was approached to score THE FAST AND THE FURIOUS by its director, Rob Cohen, who he had worked with numerous times in the past.

He then explained that Cohen had seemingly moved permanently to Bali, but had flown to New York just for this concert.  It is then that Cohen stood up a few rows in front of me and waved to the audience.

PART 11: BACK TO REALITY WITH BING, BASSEY AND THE RHINE

With film music out of the way, it was now back to reality.

“Apres Covid” was new to me, but a decent song about life after Covid (obviously!).

A lovely performance of “Isn’t it a shame” came next, which Edelman described as a song that “will never die” as it had been covered by so many artists like Shirley Bassey and Patti LaBelle.

“The Woman On Your Arm,” a song famously sung by Bing Crosby, was a touching song about Edelman’s grandfather who had worked in the Chrysler Building.

I didn’t catch the entire explanation for “All along the Rhine,” but I believe Edelman mentioned that it was “Country Jewish.”  This was a lovely piece that had chords reminiscent of Pachelbel’s “Canon in D.”

PART 12: CAROUSEL AND ONE FINAL INSTRUMENTAL

To end the evening, Edelman played a number of pieces without providing anecdotes as the concert had already gone over time.

Rodgers and Hammerstein’s “You’ll Never Walk Alone” from CAROUSEL received a beautiful performance by Edelman.

This was followed by two pieces including “My Heart Got in the Way.” An instrumental performance of “Where or When” by Rodgers and Hart was the final piece for the concert, wrapping up a perfect evening that in many ways felt like we had been in the company of a dear friend.

PART 13: THE FUTURE

As mentioned in the beginning, prior to this concert I knew next to nothing about Edelman’s work outside film scoring.  As a result, I was pretty much hearing things for the very first time – and boy, was I pleasantly surprised.

Edelman clearly wears his heart on his sleeve and is unmatched when it comes to putting feelings and memories into song.

And despite being in the business since the ‘70s, he remains an exciting and relevant voice in music that deserves a far wider audience.

I for one cannot wait to hear what he does next!

PART 14: CONCERT MERCH

Aside from CD and vinyl copies of Edelman’s latest album, Waltzing on a High Wire, no other merch was on sale.  I was hoping for a post-concert signing session, but alas, it was not to be…

Every attendee also received the December playbill for Carnegie Hall which includes a few pages about Edelman’s concert.

PART 15: OVER TO YOU

Did you also go to this concert? How did you like it?

And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.