Renovatio Records proudly celebrates this year’s Jurassic June with a newly curated release of Don Davis’ thunderous score for Jurassic Park III (2001).
After redefining the blockbuster genre with Jurassic Park in 1993 and returning with The Lost World in 1997, Steven Spielberg stepped back to an executive producer role and handed the reins to director Joe Johnston for the franchise’s third installment. Led by Sam Neill reprising his role as Dr. Alan Grant, the cast also includes Téa Leoni, William H. Macy, Alessandro Nivola, Michael Jeter, and Trevor Morgan. This time, Dr. Grant is lured back to Isla Sorna—the second island introduced in The Lost World—under false pretenses by Paul and Amanda Kirby, a wealthy couple (or so they claim) seeking to rescue their stranded son. What begins as a search-and-rescue operation quickly descends into a desperate fight for survival, as new prehistoric threats—including the formidable Spinosaurus—emerge.
Unlike its predecessors, Jurassic Park III was produced under tight constraints and without a finished script, favoring spectacle over narrative complexity. Gone was the thematic richness of Michael Crichton’s novels, replaced by a brisk, action-driven adventure that critics found shallow but which many audiences embraced as a lean, entertaining thrill ride. While it didn’t leave the same cultural footprint as the first two films, it retains nostalgic appeal for a generation of fans—and with it came a score that, more than two decades later, deserves a spotlight of its own.
With John Williams opting out of scoring duties, Universal turned to composer Don Davis, then at the height of his popularity following The Matrix. Davis wasn’t chosen merely for his orchestral skill—he came with a personal recommendation from Williams himself. The maestro even served as a musical consultant, offering guidance on integrating his iconic themes into the new score. Davis approached the project with deep respect and meticulous attention, studying Williams’ orchestral language—its harmonic depth, instrumental layering, and thematic architecture. The result is a dynamic and reverent score that bridges legacy and innovation. It honors the musical DNA of the franchise while showcasing Davis’ own bold voice, marked by his signature orchestrational density, shifting meters, and kinetic action writing.
Williams’ beloved themes—the adventurous park fanfare and the majestic wonder motif—are reprised in cues like “The Dinosaur Fly-By,” “Brachiosaurus on the Bank,” and the sweeping “End Credits.” But Davis goes further, introducing new thematic material of his own. A heartfelt, hopeful motif for the Kirby family adds emotional resonance to the film’s otherwise breathless pacing. First hinted at in “Crash Site Discovery” and developed further in “Tree People,” the theme reaches full expression in “Family Reunited” and “The Hat Returns/End Credits.” It brings warmth and depth to characters who might otherwise feel like comic relief or plot devices, demonstrating Davis’ skill at marrying sentiment with spectacle.
Equally striking is the new motif for the Spinosaurus, the film’s apex predator. Davis crafts a muscular, four-note idea—a spiritual sibling to Williams’ carnivore motif—built on grinding low strings, and aggressive brass. It makes a fearsome first appearance in “Cooper’s Last Stand” and becomes the backbone of action cues like “Frenzy Fuselage” and “River Spino Rampage.” These motifs—both new and inherited—are interwoven with remarkable finesse, creating a cohesive musical tapestry that propels the film’s tension and excitement.
What truly defines this score, however, is its relentless energy. Tracks such as “The Raptor Room,” “Raptor Repartee,” “Billy Oblivion,” and “River Spino Rampage” are tightly wound, rhythmically complex pieces that rarely pause for breath. Davis’ orchestration is dense but never chaotic—balancing strings, brass, woodwinds, and percussion in fluid interplay that drives the narrative forward with unwavering momentum. It’s a sonic rollercoaster that pulls no punches.
Yet, Davis finds space for atmosphere and mystery. “Pteranodon Habitat” blends fluttering strings and spectral textures to evoke one of the film’s most suspenseful moments, while “Raptor Harassment” ends the score on a haunting, almost reverent note—reminding us that these creatures inspire wonder as much as fear.
The original Decca Records album, released alongside the film in 2001, offered an enjoyable but abbreviated and often edited selection of cues, leaving much of Davis’ best material on the cutting room floor. Years later, La-La Land Records released a definitive edition featuring the full score, alternates, and source music—a treasure trove for completists, but perhaps daunting for casual listeners.
This new Renovatio Records edition offers a fresh alternative: a carefully assembled, one-hour presentation that distills the score’s most essential and thrilling highlights. Remastered with improved clarity and dynamic range, it offers an emotionally and musically satisfying journey from start to finish.
Though it once stood in the shadow of Williams’ monumental originals, Don Davis’ Jurassic Park III score has emerged as a fan favorite in its own right—an intricate, exhilarating work that bridges tradition and invention. This release is both a celebration and a restoration designed for longtime fans and new listeners alike. Once again, the gates of Isla Sorna open—and this time, the music is louder, sharper, and more thrilling than ever.
Track listing:
Cover Artwork:
Credits:
Cue Assembly:
|
Track Title |
Slate Number and Cue Title |
|
1. Isla Sorna Sailing Situation |
1m1 Main Title/Sailing Situation (Edited) |
|
2. Grant Back in Montana |
1m3 Udesky, Nash and Cooper |
|
3. The Dinosaur Fly-By |
2m2 The Dinosaur Fly-By (Edited) |
|
4. Cooper’s Last Stand |
2m3 Cooper's Last Stand (Edited) |
|
5. Frenzy Fuselage |
2m4 Frenzy in the Fuselage |
|
6. Crash Site Discovery |
2m6 Kirby Paint and Tile Plus (Edited) 2m7 Bone Man Ben (Edited)
|
|
7. Raptor Eggs |
3m1 Raptor Eggs |
|
8. The Raptor Room |
3m2 The Raptor Room (Edited) |
|
9. Raptor Repartee |
3m3 Raptor Repartee 3m3A Eric to the Rescue
|
|
10. Tree People |
3m4 Tree People |
|
11. Family Reunited |
3m5 Nash Calling |
|
12. Pteranodon Habitat |
4m1 Pterodactyl Habitat |
|
13. Billy Oblivion |
4m2 Tiny Pecking Pterosaurs (Edited) 4m3 Billy Oblivion
|
|
14. Brachiosaur on the Bank |
4m4 Brachiosaur on the Bank |
|
15. Reaching for Glory |
4m5 Reaching for Glory (Edited) |
|
16. River Spino Rampage |
4m6 River Rampage (Edited) 4m6A Paul Makes the Leap (Edited)
|
|
17. Raptor Harassment |
4m7 River Reminiscence (Alternate) 5m1 Raptor Harassment (Edited) 3m6 Party Crasher (Edited)
|
|
18. The Hat Returns/End Credits |
5m2 Bloody Billy/End Credits |
Finally happening! Thank you!
ReplyDelete