Echoing Geronimo_Jehoshaphat before me, VERY underrated composer. While I do love a couple of his earlier scores (specifically "The Dark Crystal") I really feel like he reached his peak in the '90s-'00s with "Gulliver's Travels," "Merlin," and "Dinotopia." They are the three Jones scores I go back to the most often, and they work so well with the style of Hallmark's miniseries at the time - "Dinotopia" the miniseries is definitely, in my opinion, the weakest of the three (I mean, basically NONE of its main characters are likeable, for different reasons) I still enjoy watching it, but probably a big part of that is because of the score. That felt like such a sort of magical time in my childhood, that decade where Hallmark was really getting into big, adventurous (and ambitious) miniseries events; I remember waiting anxiously every year for an announcement of what they're next project would be, and then my sister and I would watch them as they premiered and record them on VHS, then watch all of them almost every Summer - while Jones didn't score ALL of them, even the others had superb scores by their respective composers; Richard Harvey's "Arabian Nights" makes such beautiful use of classic "Middle Eastern" harmonic/double harmonic scales; Anne Dudley excelled (in my opinion) with "The 10th Kingdom"; Rupert Gregson-Williams' phenomenal harp piece in "Jack and the Beanstalk: The Real Story"; and Ralf Wienrich did a really great job of channeling the classic "Williamsian"/Indiana Jones feel with his score for "Coronado" (though some of it does border on "plagiaristic," but it's still a fun listen and homage). So many great scores during that period of time where Hallmark was churning out these mega-production miniseries.
