The Return from Witch Mountain is a science fiction fantasy film released in 1978. It serves as a sequel to the 1975 film Escape to Witch Mountain and is based on the novel of the same name by Alexander Key. The film follows the misadventures of two siblings, Tia and Tony, who possess supernatural powers. In this installment, Tia and Tony have been placed in an orphanage after their adoptive father, Jason O'Day, mysteriously disappears. One day, they receive telepathic messages from their Uncle Bene, who informs them that he is in danger and needs their help. Using their abilities, they escape the orphanage and set out on a journey to rescue their uncle.
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Designed with a focus on arts integration , each of the 12, one-hour lessons challenges learners to boost fluency, vocabulary, comprehension and hands-on creativity as they work together to build the characters and stage props needed to act out the different folktales highlighted in every unit. questions about as many as 20 things arranged in a line, a rectangular array, or a circle, or as many as 10 things in a scattered configuration; given a number from 1-20, count out that many objects.
Using their abilities, they escape the orphanage and set out on a journey to rescue their uncle. Throughout the film, Tia and Tony encounter various obstacles and adversities. They are pursued by an evil millionaire, Aristotle Bolt, who covets their powers for his own selfish gain.
Magic beans neae me
CD editions of Benny Green "Magic Beans"
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Benny's Crib 04:20 Kenny Drew 07:02 Flying Saucer 03:45 Jackie McLean 04:48 Vanished 05:04 Harold Land 04:11 Magic Beans 05:35 Paraphrase 05:42 La Portuguesa 04:45 Further Away 06:40about
1 - Benny's Crib
2 - Kenny Drew
3 - Flying Saucer
4 - Jackie McLean
5 - Vanished
6 - Harold Land
7 - Magic Beans
8 - Paraphrase
9 - La Portuguesa
10 - Further Away
CD Quality - 16 bit / 44.1 khz
Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with the most celebrated artists of the last half century and it's no wonder Green has been hailed as perhaps the most exciting hard-swinging, hard-bop pianist to emerge from Art Blakey’s Jazz Messengers.
For his historic Sunnyside release, Magic Beans, Green crafted ten new pieces performed by his working trio. Remarkably, this release marks Benny’s first self-produced trio recording of all original compositions in a career that spans decades: notably as a star sideman with Betty Carter, Art Blakey, Freddie Hubbard, and Ray Brown and culminating in over 20 years as a leader.
While having favored to sprinkle his recordings with standards, Benny Green has always been a composer, contributing new music to all of his leader dates, as well as records by Blakey, Hubbard, and Brown. However, in 2012, Benny experienced what could only be characterized as a compositional break-through—prolifically writing all the tunes recorded on Magic Beans in what was, seemingly, one afternoon. Benny then decided to embark on the recording of this album with his trusted Messenger mates: the brilliant Peter Washington on bass and the legendary Kenny Washington on drums. Thus, Magic Beans took root.
This highly personal recording begins with the inviting “Benny’s Crib”, inspired by the classic sound of the Blue Note label trumpet-saxophone quintets. The bouncy “Kenny Drew” follows —a sketch of the famed pianist whose prolific 1950s work inspired Green. Kenny Washington offers a lesson in brushwork here. “Flying Saucer” is written in a style reminiscent of Elmo Hope or Tadd Dameron, the title alluding to Green’s fascination with 1950s science fiction radio shows. “Jackie McLean”, written for the luminary saxophonist, leans toward an aggressive Latin feel.
On “Vanished”, Green expresses a full spectrum of emotion with economy in orchestration. “Harold Land”, named after the west coast saxophonist, is an unparalleled example of classic piano trio swing. Saxophonist Tina Brooks is the musical inspiration for “Magic Beans”, a composition blending Latin vamps and straight-ahead swing with the story of Jack and the Beanstalk in mind. “Paraphrase” is titled because of its reference to a rhythm from Ellington’s “It Don’t Mean a Thing”. The sensual “La Portuguesa” is a mini suite that connects three moods or scenes: a country road at dusk, the lustiness of the bedroom and, ultimately, romance. And finally, concluding Benny’s musical journey is “Further Away”, a piece that is both swinging and cinematic.
Born in New York in 1963, Benny Green grew up in Berkeley, California, and began classical piano studies at the age of seven. Influenced by his father, a tenor saxophonist, his attention soon turned to jazz: “I began trying to improvise on the piano, imitating the records I'd been hearing from my father's collection, which included a lot of Monk and Bird… it was a gradual process of teaching myself.” Benny never looked back and never stopped learning as his blossoming talents, supported by mentors such as Walter Bishop, Jr. and others, plus his love for the music propelled him to the upper strata of jazz luminaries.
Green’s list of credits, accomplishments, and accolades could literally fill a book. His recordings with the masters form a foundation of his jazz education. Some notable highlights include: touring with Betty Carter for four years and realizing a life long dream of becoming a Jazz Messenger. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto's Glenn Gould International Protégé Prize in Music culminating in Oscar & Benny (1998) recorded for Telarc. Green has appeared on well over one hundred recordings with legendary artists Betty Carter (including Grammy award winner Look What I Got), Art Blakey & the Jazz Messengers, Freddie Hubbard, Bobby Watson, Milt Jackson, Diana Krall, and particularly featured in Ray Brown's trio series for Telarc: Bass Face (1993), Don't get Sassy (1994), Some of my best friends … (1994), Seven Steps to Heaven (1995), Super Bass (1996) and Live at Sculler's (1996).
As the leader of his own ensembles, Green's recording career began with two albums for the Dutch label Criss Cross: Prelude (1988) and In This Direction (1989). In 1990, Green started recording for Blue Note: Lineage (1990), Greens (1991), Testifiyin' (1992), That's Right! (1993), The Place To Be (1994), Kaleidoscope (1997) and These Are Soulful Days (1999). In 2000, his debut recording on Telarc Jazz entitled Naturally was released, which featured bassist Christian McBride and guitarist Russell Malone. Green released the solo piano date Green's Blues (Telarc, 2001) and Jazz at the Bistro (Telarc, 2003), a duo recording Malone, followed by Bluebird (2004) again pairing Green with Malone. After a short hiatus from recording, Green produced a 2011 trio date, Source (JLP).
With this recording, Benny Green steps out as the bearer of the torch and guardian of a legacy handed down to him, personally, by his musical mentors. Magic Beans delivers the message that swinging is never out of style.
With this recording, Benny Green steps out as the bearer of the torch and guardian of a legacy handed down to him, personally, by his musical mentors. Magic Beans delivers the message that swinging is never out of style.
Bolt enlists the help of a sinister scientist named Victor Gannon to capture the siblings. However, with the assistance of a kind-hearted widowed woman named Letha, Tia and Tony manage to keep one step ahead of their pursuers. As Tia and Tony draw closer to their destination, they discover that their uncle is being held captive and forced to use his abilities for nefarious purposes. Determined to rescue him, they devise a plan to infiltrate the stronghold and confront Bolt and Gannon. The climax of the film takes place atop Witch Mountain, where Tia and Tony engage in a thrilling battle against Bolt and Gannon. Using their telekinetic powers and wit, the siblings ultimately triumph and successfully rescue their uncle. With their mission accomplished, Tia and Tony bid farewell to Letha and return to a normal life. The Return from Witch Mountain is a classic adventure film that showcases the power of family, the strength of supernatural abilities, and the triumph of good over evil. Its engaging storyline, captivating special effects, and memorable characters have made it a beloved favorite among fans of science fiction and fantasy..
Reviews for "The Cast of "Return from Witch Mountain": Where Are They Now?"
1. John - 2 stars - I found "Return from Witch Mountain" to be a disappointing and lackluster sequel. The plot was weak and predictable, and the special effects were underwhelming. The performances from the actors felt phoned in and uninspired, which made it difficult to care about the characters or their journey. Overall, I was hoping for a more engaging and exciting film but ended up feeling let down.
2. Sarah - 1 star - "Return from Witch Mountain" was a complete waste of time. The storyline was convoluted and confusing, leaving me scratching my head throughout the entire movie. The acting was incredibly cheesy, and the dialogue was cringe-worthy at best. I had high hopes for this sequel, but it failed to capture the magic and charm of the original.
3. Mike - 2 stars - I had fond memories of the original "Escape to Witch Mountain," but "Return from Witch Mountain" was a letdown. The plot felt recycled and unoriginal, lacking the depth and intrigue of its predecessor. The action sequences were poorly executed, and the special effects were outdated even for its time. Overall, I was hoping for a nostalgic trip down memory lane but was left feeling disappointed and unsatisfied.
4. Emily - 3 stars - While "Return from Witch Mountain" didn't live up to my expectations, it still had a few redeeming qualities. The performances from Bette Davis and Christopher Lee were the highlights of the film, bringing much-needed depth and complexity to their characters. However, the plot felt disjointed and rushed, jumping from one scene to another without proper development. The film had potential, but it fell short in execution.