On The Desk IX

You don’t get more classy than Holly Golightly, or more classic a film than Breakfast at Tiffany’s. Blake Edwards’ sassy, comically romantic and ultimately moving film created an icon in Audrey Hepburn and in the process confirmed that the director’s creative partnership with composer Henry Mancini would go on to be one of the most colourful and listenable in Hollywood history. The score for Tiffany’s came a few years before the quintessential Pink Panther scores and in a way put the composer more firmly on the Hollywood map, thanks in no small part to the title song ‘Moon River’ which Manicini composed with Johnny Mercer. Both won Oscars for their work on the swooning little number and the composer took home a second statue for his dramatic score.

I say ‘dramatic’, when really it’s more of a glittering, toe-tapping underscore representative of the period and most of it coming out of Holly’s record player. So the majority of the music on this new ‘50th Anniversary’ release of the music from the film, by Harkit Records, is source music, but what a fabulous selection of ditties it is. The real drama comes from the ‘Moon River’ melody which appears in the opening ‘Choral’ version and Hepburn’s vocal rendition – itself full of sultry emotion. The likes of ‘Something for Cat’ and ‘The Big Blow Out’ make perfect 60s party music – as they did in the film – and the quasi striptease music of ‘Hub Caps and Tail Lights’ raises a smile for sure.

The title track is a romantic, misty-eyed number with light percussion, cool piano and strings, not to mention the ‘oohing’ and ‘aahing’ choir. Mancini’s trademark swooping strings, brass vibraphone add a touch of 60s glamour. There’s something utterly wonderful about this style of music, so of its time, full of warmth, romance all played out with a wink and smile I expect.

‘Holly’ is another breezy walk in the park, with trumpet, percussion and guitar playing out a lazy melody. Those swooping strings again whisk you up off your feet and carry you away with them, while ‘The Big Heist’ pre-empts the mould that Mancini would turn to for The Pink Panther in a few years time… Priceless.

A final rendition or two of ‘Moon River’, including a very camp ‘Cha Cha’ version brings this glittering little album to a close. I can quite honestly say it’s a bit of a joy and it makes me want to seek out more music of this period… I’ve a load of Williams’ music from similar ‘screwball’ romances, comedies and alike, so I think I’ll dust them off. Time to re-embrace my copy of The Pink Panther as well I think… Kudos to Harkit Records though for making this music available; notes by Randall Larson are, as always, informative and expertly written, while the packaging – replete with faux crystals in the spine casing – is creatively considered.

Now to Silva’s release of Gustavo Santaolalla’s Biutiful, his latest collaboration with visionary director Alejandro Gonzalez Inarritu. Following on from the likes of Amores Perros, 21 Grams and Babel, Biutiful stars Javier Bardem as a dying man with a shady past who wishes to redeem himself before death claims him.

Music appears to be of great importance to Inarritu and like their previous films, Santaolalla was involved from an early stage. Indeed for Biutiful the composer researched the styles of music that might work and went so far as to record tracks before the film’s production was complete. According to the director, some 150 tracks were created, not all ending up in the finished film as you’d imagine. In fact some of the early ideas thought to be what they needed, ended up not working at all with the film and a whole different approach was undertaken. As a result the two discs of the soundtrack album represent both the original soundtrack of cues heard in the film, with the second disc (called ‘Almost Biutiful’) carrying a selection of the otherwise worthy pieces that didn’t make it. A nice touch.

The music then, like all of the Inarritu/Santaolalla productions is a diverse collection really, with the composer’s original music – as usual based on guitars and ethnic instrumentation. This composer looks to eastern and African music for some of his inspiration, as well as his latin roots. Some of the early selection isn’t easy listening, the cues being quite stark and imposing, contrasting greatly to later cues of some beauty. The finale of the first disc is a gorgeous rendering of Ravel’s Piano Concerto in G (aka 2 Adagio Assai) performed by Zoltan Kocsis, Ivan Fischer and the Budapest Festival Orhestra; truly ‘Biutiful’.

The second disc, with its ponderous pre-production musings intact offer again a variety of ideas. ‘Seedz’ has an overtly African flavour, while the likes of ‘Maler’ and ‘Davis’ are hypnotic and engaging, the former arranged by Osvaldo Golijov. ‘Tin Can Gitar’ is certainly the most unusual entry, with its oddly entrancing repetitive metallic sound, while ‘Elegaic’ – the closing track - is a piece for piano, reverberating and pensive.

Another Silva album to land on my desk in recent weeks was something of a surprise. ‘The Symphonic Celtic Album’ should probably be called ‘The Symphonic Celtic Film Music Album’ given that that is exactly what it is, bar one track… A gathering then of some of film’s quintessential Celtic musical motifs, some obvious, others spurious… It is though a pleasant listening experience, with Carter Burwell’s Miller’s Crossing opening the selection and Sean O’Riada’s ‘Women of Ireland’, used in Barry Lyndon, one of the truly Celtic offerings. The likes of Horner’s Braveheart and Titanic, Williams’ Far And Away and Burwell’s Rob Roy are the meat of the piece, while two selections from Shore’s Lord of the Rings: The Fellowship of the Ring are given an Emerald glow thanks to the presence of Enya’s ‘May It Be’ in the first instance and the Celtic-flavour of the Hobbiton music I suppose.

I may be missing something, but Trevor Jones’ The Last of the Mohicans and Newman’s The Shawshank Redemption, are only faintly Celtic in their general hue, while the inclusion of ‘Now We Are Free’ from Gladiator is just filler surely… It was set in Rome, he was a ‘Spaniard’ and… need I go on? Anyway, it’s still a fine piece of music.

Victor Young’s The Quiet Man and Michael Kamen’s Highlander complete the package, though the likes of Jarre’s Ryan’s Daughter might have been a welcome addition, not to mention Horner’s The Devil’s Own. Obviously these things depend very much on what’s in the Silva catalogue to begin with and to be fair to them they haven’t done badly at all with this album. It’s all listenable stuff… Not sure I can forgive the glaring mistake in the sleeve note though, where Howard Shore is credited with Braveheart… Woops. Oh and the album ends with Bill Whelan’s ‘Riverdance’… not in a film, as far as I know? But it’s a cracking piece an anthem if you like to all things Celtic. And why not.

Finally James Horner’s Testament was a welcome release from Film Score Monthly recently and while it’s a short album – just a little over half an hour – it’s worth it. His take on the morbid, but dramatic family tale of life after a nuclear holocaust is quite simply moving and beautifully achieved. With a small ensemble, Horner weaves emotive lines of music for solo, duo and trio, including woodwinds and an imposing French horn. The brief vignettes on the album, plus a couple of pieces by Mozart make for a short but wholly satisfying experience, proving Horner’s ability to move with the simplest of means. This is a must have CD for any Horner collector.

Breakfast at Tiffany’s is available from Harkit Records – www.harkitrecords.com – while both Biutiful and The Symphonic Celtic album are available on CD or to download from www.silvascreenmusic.com. Testament can be found at www.screenarchives.com, along with all the other fine releases from FSM and more besides. As ever.

On The Desk VIII

Busy times in the real world have kept me from the desk, so it’s been a little while since my last blog. I think the last one was more of a rant actually… Apologies for that. So back to it, refreshed-ish and a pile of albums amassing atop the table. But where to begin? I might begin with a little self promotion as Silva Screen’s wonderful ‘Francis Lai: The Essential Film Music Collection’ is with us at last. What sets this release apart from their traditional ‘Essential’ series entries is that this selection is conducted by the composer himself with his orchestra. So something of a seal of approval from a composer who is oft-overlooked. The album is a re-issue of a Japanese release and with liner notes by yours truly it’s a neat little package that gathers together the best of Lai’s entrancing and unendingly charming music. Silva have been busy of late what with their latest Debbie Wiseman release The Promise (a typically emotive and thought-provoking piece of work from the First Lady of Film Music, with cracking cover-art) and more besides. Not least of all yet another release from the pen of Mr. Murray Gold for Doctor Who The 2010 Christmas Special - 'A Christmas Carol' - saw Welsh wonder Katherine Jenkins take on her first acting role, so it was a given that she’d end up singing at some point. Murray crafted ‘Abigail’s Song’ for her and it is of course the standout track of the album - the first entire episode soundtrack to be released after four albums of Series highlights. With additional vocal accompaniment from the usual bods of The Crouch End Festival Chorus, the song – although cunningly simplistic – manages to raise the hairs on the back of your neck when Jenkins and the Chorus are in full force. The larger score is essentially what we’ve come to expect, love – nay crave – from the Time Lord’s adventures. With that in mind this is nothing short of a musical spectacular, a full throttle orchestral score with bags of charm, moments of magic and a few punchy little numbers along the way. With Series 6 not far away, appetites are certainly whetted… more to come of course, not least of all the release on CD of Murray’s utterly brilliant score for the Weinstein Company’s animated sequel Hoodwinked Too. The soundtrack is coming – finally – from Lakeshore Records in the US, so perhaps Silva will be able to pick it up here? Here’s hoping, it’s tops. Another BBC series that has gotten people all fired up in the UK is Being Human. I was certainly in on the ground floor when Series 1 aired in 2009 and have been hooked ever since. The premise is fairly straightforward… a Ghost, a Vampire and a Werewolf live together in contemporary Britain, trying to fit in and live as human a life as possible. While its obvious overtones of fantasy, horror and indeed comedy were duly noted, I was surprised at just how damned moving the ongoing series’ have been. Series 3 has just finished here and what a series that was… Just brilliant. The music for the show is composed by Richard Wells, who until then was known to me thanks to his rather good score for The Mutant Chronicles. For Being Human Wells applies smaller scale music, often solo instrumentalists/groups amongst a wealth of well conceived programming. That said the music seemed to me to play quite a back seat as nothing particularly memorable ever stayed with me, bar the metallic/percussive end credits piece. This does of course mean the music is doing its job… With that in mind though I was intrigued to discover Silva Screen were to release an album and I hungrily took it in. What a discovery it was too! It’s a disc full of fire, emotion and humour and of course returning to watch the remaining episodes of the third series, those melodies jumped right out with a bit of familiarity. Highlights include the entrancing ‘Beautiful Chaos’ and ‘Annie’s Theme’, but the whole selection has a lot to offer. This is quite simply just great contemporary TV music with a fine mix of live performances and programmed hues to make you shiver, swoon and giggle, much like the series itself. Roll on Series Four! Finally from Silva is The Eagle, which comes from Atli Örvarsson. I admit to being a little narrow minded when I saw the release, what with the obvious connections and homages to Gladiator in the trailer etc, not to mention the fact that Örvarsson himself worked with the great Zimmer too. A cursory glance at the score credits though revealed a wealth of live performers, soloists and interesting instrumentation and I have to say it’s quite a colourful score. Sure there are some echoes of the omniscient Zimmer here, plus a few strains of Newman (Thomas) and Horner. There’s a lot of Celtic colour throughout the score, which shouldn’t have been such a surprise given the locale of the story (Old Britain and its borderland with Scotland) and the use of traditional folk melodies and such like. Percussion, dulcimer, cimbalom, pipes and vocals make up just some of the many additions to the usual suspects, all making for a robust film score all told. Ground breaking this might not be, but it’s good to hear something that’s had more than a little thought go into it. Of course the director is Kevin MacDonald and his past efforts have always seen cunningly conceived scores and source pieces by Alex Heffes. It was of course a surprise not to see Heffes attached to The Eagle… Small shame, but Örvarsson has stepped up to the plate admirably. La La Land Records continue to be generous with their releases and their recent roster has been typically good. John Morris is included once again with another fine turn in the shape of 1985’s Clue. The classic comedic whodunit is of course based on the board game ‘Cluedo’ and the colourful cast of characters are ably supported by Morris’ orchestral modes. Typically the composer takes the comedy very seriously with brassy accents, shivering strings, some camp electronics and a punchy little main theme capturing something of the mad-capped-ness of it all, not to mention the overriding ‘mystery’. A classic, of course. Another classic of the silver screen is noted with a double disc release of Ernest Gold’s It’s a Mad, Mad, Mad, Mad World, a film which saw a cavalcade of comedy stars from the Silent Era through through to the then ‘present’ day. The likes of Buster Keaton and Mickey Rooney were billed alongside Phil Silvers, Ethel Merman and Jonathan Winters. The score, one of Gold’s most famous is suitably sprawling with its circus-like main theme giving way to unending thrills and spills for orchestra. Disc One captures the entire score, while Disc Two presents the original LP re-issue. Performed by the Los Angeles Philharmonic, it’s quite a feat and a treat for the ears. Testosterone is definitely on the menu with the next two La La Land releases, namely Hans Zimmer’s Broken Arrow and Mark Mancina’s Money Train. Both are fine examples of 90s action scoring at its best, with Zimmer’s tried and tested brand of orchestral, synth, guitar mash-up working wonders for the big budget machismo-fest. The main theme, for guitar, is simple but has become somewhat iconic now and this very generous two-disc album showcases the work in its entirety with bonus selections from the original album too. Mancina’s effort from the previous year is of course related, given the two composer’s collaborative history, but it stands out as pure Mancina with the oh-so energetic figures just bursting out of the speakers. Again guitars and keyboards meet full-throttle action orchestra here, but with less emphasis on synth-pads. The composer reminisces in the sleeve booklet about the period, citing it as ‘the good old days’. These scores certainly paved the way for much of the modern film music we hear today and good or bad, these elder cousins are just brilliant examples of action film scoring done right. Finally an interesting release from La La Land by one of the brightest stars beginning work in Hollywood today, Abel Korzeniowski. The Polish-born composer of course came to fame through his staggeringly beautiful work on Tom Ford’s A Single Man and La La Land have released the composer’s music for a previously unknown Polish animation called Copernicus’ Star. The gorgeous little film was helped along beautifully by the original score, recorded in Poland with orchestra and chorus, and the selection released here only goes to prove just how talented a composer Abel Korzeniowski really is. The depth of emotion, melody and colour found here is again rather staggering and I for one am chomping at the bit to hear more from this exciting new voice. Lots to think about, seek out and enjoy if you can. Visit silvascreenmusic.com and lalalandrecords.com for more information and ordering information, not to mention news on their latest treats. As for me? The desk is empty once again, so I’ll be back soon with more thoughts on the latest releases.

Bristol Music... A Rant?

I live in Bristol, in fact I was born in Bristol, and while I’ve visited plenty of other places – considered ‘the move to London’ – there really is no place like home. The city has a rich cultural heritage, a colourful history and its streets, with their era-straddling, ever changing facades, could tell a thousand stories I have no doubt. There’s also music to be discovered in the ‘capital’ of the West of England...

The Hazlewood Affair...

People have questioned Bristol’s musicality of late, thanks in no small part to comments by Charles Hazlewood. His article, which came about in the lead up to the first concert of a new residency at St George’s Bristol with his orchestra The Army of Generals, alludes to the fact – and it is a fact – that Bristol is without a major ‘full time’ orchestra. He also began his spiel by stating that in his opinion the city is ‘desperately in need’ of ‘musical protein’.

While we’re hardly desperate, a city of our size should probably have an ensemble in the league of those based in Bimingham, Bournemouth, Liverpool, Scotland and London, not to mention the great BBC Orchestras. Bournemouth’s Symphony Orchestra has become the orchestral representative of the South and West and so we get to share them... Sure they’re a fine ensemble – they were in fact the first live orchestra I saw when I was a child – but I’m not sure I want to share them...

Of course we do have Bristolian orchestras, several in fact, and the likes of the Bristol Ensemble and the Bristol Metropolitan Orchestra (both re-branded in an attempt to be taken more seriously perhaps), not to forget the Bristol Concert Orchestra, Brandon Hill Chamber Orchestra and Bristol Classical Players, each perform very regularly across the city and do great things. The Bristol Ensemble is itself somewhat omniscient of late, striving to set out its stall as Bristol’s first orchestra. Concerts aside they do marvellous outreach work, which is brilliant and essential.

There’s more to musical protein than a name, or a budget though... it’s what you play that matters, how well you play it and how you package it. I think If you want to get people in off the street to hear Classical music, particularly in this city, then you can’t be in the least bit pretentious. Will Mr and Mrs Bloggs in the suburbs of Horfield or Hartcliffe actually give two hoots about ‘Abstractions and Refractions’ – the title of Charles’ concert series – the answer is no frankly. Charles wanted, nay wants, to break down the boundaries of the classical concert experience, ‘concert etiquette’ if you will, and get people in through the door and listening who wouldn’t normally... It’s a great idea which I’m all for, but a glance around the room at the first concert in the series revealed the usual suspects in a venue steeped, historically, in the very Classical etiquette he’s striving to avoid. I absolutely love St George’s dearly, but the whole arrangement seemed at odds with its initial aim I’m afraid.

Bristol audiences are famously fickle though... Gergiev appeared at Colston Hall last year and nobody came. That’s an exaggeration obviously, but it illuminated the fact that if people haven’t got an appetite for Classical music they just won’t bother, no matter how big the name on the poster.

What might have worked better for Charles’ general idea? Get an orchestra in the amphitheatre on the harbourside, or in Queen Square and belt out some tunes that the Bloggs’ might know, something for the Classic FM crowd and the casual listener who likes the theme from Star Wars. That would do it, then when you’ve got them try them with something different, something they don’t know. Don’t try and play them music they don’t care about in the first place and then add insult to injury by showing them how amusing and clever some composer they’ve never even heard of was so many years later... It just doesn’t wash.

In, something, we trust...

Colston Hall likes to think of itself as the city’s premier music venue. The shiny makeover has worked wonders, not to mention some name changes behind the scenes... The council is in the process of offloading their responsibility of the venue, instead creating The Bristol Music Trust to run its affairs. Interesting times then for the hall, which will continue to be financed by the council in the initial years of the Trust’s life, but then it’ll have to fend for itself in a time when money for the arts is hardly abundant. The eventual aim is for this trust to be ‘entrusted’ with the all the musical goings on in the city, acting perhaps as a central hub for not just the Colston Hall, but other venues and events too... It’s an interesting idea certainly, but with a community of venues very much with their own established identities, clientele and modus operandi, I doubt whether shoving it all under one umbrella will work. The meetings and feasibility studies continue (endlessly knowing Bristol City Council, until they’ve spent a fortune and decide to leave things just the way they are) so the jury’s out on the future of Bristol’s music making.

One thing’s for sure there are those is this city who love music, who make great music and who enjoy music... and I’m not just talking Classical. So as long as that continues, we can’t go very far wrong can we?

On The Desk VII

Well here we are again, at the desk and contemplating all things Film Music (and, it goes without saying, More Besides). I’ve had quite an influx this last week or so, passed on from labels, composers, friends and even a few I’ve actually bought myself – which is a rare occurrence these days I can tell you. I still enjoy the rush of buying an album though, particularly if it’s for my collection. This week I filled some gaps in the Horner line-up, so I finally inserted Avatar, The Karate Kid, Jade and 48 Hours in… The Karate Kid, a surprise entry in the composer’s resume last year to be sure, is a great listen actually. I do find James Horner comes out guns blazing when he’s against the clock (many composers do in fact). The album is one of those controversial CD-R releases, made to order so to speak. Do I mind this? Well to be honest I haven’t thought about it along any further line than ‘oh it’s on CD, let me at it!’. I suppose there are some things to consider with the rise of the CD-R album, but I don’t think I have the energy to go into it now. All I know is I’m enjoying the album very much. End of.


48 Hours is an interesting little disc; first time on CD and featuring just about half an hour of Horner’s original score. The film, and score, is as old (or indeed young) as me… So yes it is a little dated here and there, but it represents one of the composer’s really early Hollywood entries (1982 fyi) and shows him in action, non sci-fi/fantasy mode which is seemingly all we know of him from that period. Some subtle electronics linger around the orchestral forces (not massive, but sizeable) and they come together with steel drum (yes, remember that in Commando? It’s the same here, and very similar all round I’d say) creating a rather interesting underscore to the otherwise snappy buddy comedy antics on screen. Horner very much lets the performers (Nolte and Murphy) do their thing and underlines the more serious aspects of the unfolding drama, chases and wotnot. It’s over in a flash of course, but the album goes on with original songs by The BusBoys and one source cue by the brilliant Ira Newborn, who also produced the songs. Good to tick the box though and have the album and it’s a colourful listen when all is said and done.

Last time round I promised The Promise (can one promise a promise?) and so I turn now to Debbie Wiseman’s latest dramatic turn for director Peter Kosminsky. The mini-series has just started on Channel 4 – so catch up if you can – and the composer’s emotional musical underpinning is characteristically on the money. Ebbing and flowing with a well honed sense of drama, Debbie Wiseman’s music is at once even tempered, subtly exotic and always beautiful. The traditional middle eastern instrumentation – including Oud, Kaval, Duduk and Arabic Violin – peppered throughout the cues is well balanced alongside the more usual solo turns from members of the RPO and of course the composer herself on Piano. Following two characters 60 years apart in history, the music is able to straddle both narrative strands allowing Debbie to make even distinctions thematically. There’s a darker hue to some of the flashback moments – ‘The Settlers’ and ‘The Fight’ for example – while the deeper emotion is often found in the cues with the least orchestration. It’s amazing what a solo piano can say… Food for thought and another fine score, plus a very generous album from Silva Screen Records.




Silva also released The Rite by Alex Heffes. Alex is such a great composer, and a jolly nice chap to boot, so it’s always good to hear new things from him. This film, by Swedish director Mikael Håfström stars the oh-so brilliant Anthony Hopkins as an unconventional Catholic Priest who tutors a young seminary at the Vatican’s Exorcism School… Fascinating stuff then, and a robust effort from the composer who opts for largely conventional trains of thought, given the subject matter. There are urgent strings, swathe of chorus, bubbling brass and jolting percussion aplenty, particularly in the exorcism cues themselves. ‘Exorcism of Lucas Part 1’ has a particularly impressive jump-start and builds to a heady fusion of contemporary atmospherics which, when coupled with some snarling brass and eerie choral moments, makes for a textbook gothic horror cue full of shudders. Textbook is often good, particularly when coming from a composer of this calibre and being as we haven’t heard anything like this from him before, it’s not a bad route to take… this is Hollywood after all and as a young, relatively unknown composer, you really need to stay within the parameters of what’s known and accepted by producers, otherwise they might go elsewhere. While Alex has done some great films, this is the first glossy Hollywood entry away from Kevin MacDonald and it’s a great first crack at the big studio nut.

Merry Christmas!?

Has Christmas come early, or is it late? La La Land Records’ release of Home Alone has appeared on my desk, at last. Ok so it’s late, the album was released in time for the movie’s twentieth anniversary (I cannot believe I’m writing that…). The film, produced by the late John Hughes and directed by Chris Columbus, has become a festive family classic and it’s music goes a long way to creating that sense of Christmas cheer, familial warmth and comedic caper. This new pressing from the label is just brilliant, with all of Williams’ cues collected together in film order, not to mention versions of his original songs (‘Somewhere in My Memory’ and ‘Star of Bethlehem’, written with Leslie Bricusse). While the original CBS Records soundtrack album (which is normally on repeat in the house every season) captured the heart of the music created for the film, there are a handful of fresh cues here to enjoy, plus some additional music in the shape of source cues (carol medleys and alternates) to make it worth the purchase, not to mention the fact that the 1990 album is very hard to find nowadays… The big draw for me was the booklet which features some great background to the film’s production and the creation of the score. It seems Williams was never considered – Bruce Broughton was credited in early trailers, but had to abandon the project due to other commitments – and it was only when he was treated to a sneak preview screening at Amblin Entertainment that he himself requested to do the picture, so excited was he by it. After all those years at the top of his game, and his name attached to near enough every Hollywood blockbuster in recent history, it’s no surprise Williams had a canny eye for a surefire hit… which it was.




La La Land are very much championing the music of the great John Morris, having release a number of his works in recent times, indeed the label just announced Clue which is fresh off the bat following their release of the brilliant Haunted Honeymoon. A master of pastiche, Morris provided a full-blown orchestral score for Gene Wilder’s 1986 comedy shocker using the talents of the London Symphony Orchestra no less. Wildly scintillating in places and full of fun in others – the main titles as source music for example in ‘Memory Music/Wolfington Castle – Haunted Honeymoon is a comedy score that takes itself absolutely seriously, though with its tongue firmly in its cheek of course! Jeff Bond’s liner notes are typically informative, making for a fine package all in all. With a composer as talented as Morris and an ensemble as mighty as the LSO you just can’t go wrong. Well done La La Land.

Speechless

Finally I look to The King’s Speech which I’ve finally managed to have a listen to away from the film itself, and what a film. It’s the BAFTAs this coming Sunday night and I’m in no doubt that this film will sweep the board, including a nod for Alexandre Desplat who has yet again delivered a sensitively sparkling dramatic score. There’s charisma here, beauty of course and emotional hues born of subtlety and a lightness of touch we’ve become so accustomed to. While Desplat’s score underlines the majority of the drama, his typically delicate title cue dances around slightly more sombre string passages. Those ‘heavier’ moments (as heavy as Desplat can be when he decorates them so elegantly) lead nicely into the disc’s final selection of Beethoven pieces. Of course the film’s denouement, where His Majesty gives the speech of his life, is underscored by a passage from Beethoven’s 7th which is chock full of tempered emotion it inspired tears by the scene’s end. A fine disc from Decca Records and hopefully an award-winning soundtrack for the composer of the hour.


Next time? Who knows… though I do have a confession to make. I’ve been listening to Henry Jackman’s Gullivers Travels and I’m excited, that’s all I’m saying. More on him next time.

The Promise and The Rite are available from Silva Screen Records now – silvascreenmusic.com – while lalalandrecords.com will take you to all manner of delights, including the Morris scores, Home Alone and their fine releases of Batman Returns and Star Trek V: The Final Frontier…

John Barry 1933-2011

A sad week for film music with the news of John Barry’s passing, a true Lion of a composer whose legacy speaks volumes…

Listening to his work, as I have been since I heard the news on Tuesday morning – indeed I immediately selected his album ‘The Beyondness of Things’ to underscore my walk into the office that day – I was struck by the innocence to be found within his melody making. That album, followed by the equally brilliant ‘Eternal Echoes’ absolutely represents Barry at the peak of his orchestral composing. They’re very personal albums I think. It’s as if he had all these little musical ideas stored away and needed to get them out, share them with the world. That was a while ago now, and it’s been ten years since he actually scored a picture – Enigma being his celluloid swansong.

Of course everyone has been talking about James Bond and Barry is 007’s composer laureate. Those scores – and songs – are a legacy in themselves when you think just how important they are in conjuring the very essence of that character and those classic films. Me? I was never a Bond nut – I was too young to really jump on that fan-wagon, and I can’t think of a film scored by John Barry that I was able to appreciate fully. The later films were a bit heavy for a young Beek, though we did have Dances With Wolves on video at home…

It’s very easy to herald the brilliance of someone when they’ve left us and I feel something of a hypocrite in many respects when I do this today, as I admit to never giving Barry’s music as much time or enthusiasm over the years as other composers’ work. When I think back now I realise that it comes down to age. I was a child of the late 80s/early 90s and thus John Williams, James Horner, Danny Elfman and Hans Zimmer are the composers who I was drawn to initially, and still hold in the highest esteem. Look at my CD collection and it’s those four names, in that order, which rank highest in terms of sheer numbers. Barry CDs? You’d have to look hard and go way down to the bottom, and even then it’s just a couple of compilation discs. Go to my hard drive though and it’s a different story. I have, in recent years, managed to gather 23 Barry albums… it’s a start.

Barry is as great as John Williams – certainly had as many Oscars – and was actually a year younger than the American. Some of Barry’s big successes came before Williams’ most famous, and in the 80s a John Barry score was sought after. Barry was the go-to composer for a deep, dramatic, mature sound… which Williams proved he could do much later. When Williams ‘came out’ as a serious dramatic composer with the likes of JFK, Schindler’s List and all that followed, it seems Barry was out of a job…

So while I haven’t had chance yet to listen to all his major works, the truth is Barry has been almost omnipresent all through my years. Whether it’s Bond films on the telly, or those great great themes for the likes of Zulu, The Lion in Winter, Midnight Cowboy, Born Free and Out of Africa… These things are used, re-used, played again and again in concert, on television and alike, so in many ways I’m a Barry fan by default. I do have favourites though and Somewhere in Time is top of my list, followed by Out of Africa and Body Heat. I recently acquired The Deep and must finally play Moonraker… I’m actually quite excited to think there’s a whole world of ‘new’ music for me to discover for the first time.

John Barry, I am now your fan – I’m sorry it’s taken so long, but thank you for all the wonderful music you’ve left for us to enjoy, discover and rediscover.

On The Desk VI

There was a time when you could barely see my desk for the CDs stacked atop it… Back in the days when Music from the Movies was in its fullest swing I was receiving albums from both sides of the Atlantic on a regular basis. Then it slowed, along with MftM, and today I receive a trickle of albums in the mail from some of the labels here and in the US. Not all of them are even worth mentioning of course, but I do enjoy making discoveries and hearing new things when I have the time.

This blog does allow me some space to share my thoughts on new and old releases, things I’m excited about and things I’m less thrilled with. Hopefully I’ll be able to keep a regular ear to the ground – or indeed the desk – and cover a little (or a lot, time willing) of what lingers on (and sometimes under or beside) my desk.

So what’s new?

Danny Elfman was in London during the Autumn of 2010 recording The Next Three Days and that resulting effort came to CD (and the downloadable realm) here courtesy of Silva Screen Records. It seems director Paul Haggis and composer Elfman got on like a house ablaze, so does that spell the end of the Haggis/Powell era? Powell’s busy enough it seems, so perhaps he won’t worry. Elfman does these edgy dramas very well and always seems on top of the latest trends and sounds. He’s certainly not a composer to rest on his laurels… Big Top Pee Wee this ain’t. Instead we’re in moody and emotive piano territory, with a steady dose of programming simmering, throbbing and pulsating away above and below, here and there. Strings play a part too and it sometimes feels like Dolores Claiborne meets Spider-Man... It’s all very 2010 and certainly more listenable than a lot of the drivel pouring out of some of Hollywood’s current crop of young composers, scoring the higher-end thrillers and alike these days.

Do I like it though? Well yes it works very well within the context of the modern thriller, it’s pacey, exciting in places and has some emotional hues that come across in the way I imagine they’re intended to. On album it’s background music to say the least. Can we expect much more from this genre though? Not all scores can be luscious, thematic, juicy and exciting eh? I once wondered if Danny Elfman was losing his way, moving on – and then some – from his slightly more chaotic and colourful roots. But like all artists he has grown up, matured and developed. He sometimes sounds like an altogether different animal, with occasional glances back to what we might consider his heyday. His ‘heydey’ though was his infancy as a film composer… What does that really say? That’s fodder for an altogether different/longer discussion I think, so back to The Next Three Days… Favourite tracks? ‘Same Old Trick’, ‘All Is Lost’ and ‘They’re Off’.

Get Me To The Greek…

I distinctly remember watching The Bounty when I was 5 years old on the telly. It was probably my first sighting of a bare breast… I wasn’t sure why at the time, but I was far more interested in Mel Gibson… Moving On! The music was of course composed by that great bearded master of the keyboard score Vangelis (or Evangelos Odysseas Papathanassiou to give his full name). Given the impact of Blade Runner two years earlier, it’s surprising that an original soundtrack of this 1984 sea-faring yarn didn’t get a proper release. But then it was the 1980s and as we all know some real gems were left on the shelf. I didn’t know much about this score if I’m honest, besides a track on the brilliant album ‘Odyssey’, but other than that the film’s music was a mystery to me. Until now.

For whatever reason the original recording is still to make an appearance on ‘official’ CD, so Dominik Hauser saw fit to recreate the entire score from scratch, perform and record it for release by BSX Records. Without much to go on except the one track I mentioned, plus of course the ‘sound’ of the composer we all recognise, it’s faintly difficult to say whether Hauser has, categorically, nailed it. What I can say is this, it sounds pretty convincing! Waves of electronic hues, visceral and shimmering… I really rather like it. I was sceptical when the album landed on my desk (well it didn’t so much land, I actually picked it up from the doormat and put the there myself) as such ‘re-creations’ can be just a bit.. well, rubbish. I’m all for a complete symphonic re-recording, so I can’t really put down a recreation of an electronic score on electronics can I, particularly when it appears to have been done extraordinarily well. This isn’t some pleb on a Casio keyboard… The sounds are right and the performance top notch. If that weren’t enough we’re treated to some brilliantly toe-tapping sea shanties for violin (performed by Elizabeth Hedman) and one for voice (Katie Campbell), which make for a very listenable Bounty…

'Stand Back, Buenos Aires!'

I got an email before Christmas from one half of a composing duo based in Argentina’s Capital, asking if I’d like to hear some of their music. Of course I agreed that it would be my pleasure and I soon recalled the name, realising I already had an album of music by Daniel Tarrab & Andrés Goldstein.

The package arrived, courtesy of FedEx, and I settled down to listen. I was instantly moved by what I heard and immediately emailed Daniel to tell him how much I was enjoying their music. Having heard what I was able to play (some technical issues!) I have to admit I am thirsty for more… what beautiful music they make. Inheritance was the first disc to go in and perhaps the one which has stayed with me since, being so full of beauty, grace and emotion. The film, a documentary by James Moll (The Last Days), follows two women connected to concentration camp Commandant Amon Goethe – one his daughter, the other a Jew who found herself working as his housemaid at Plaszow – as they meet 60 years after the events of the Holocaust and retrace their experiences in Poland. Strong stuff indeed and I’d very much like to see the film now. The music though is a fitting accompaniment, reaching emotional depths with heartfelt clarity and performance. I can’t recommend it enough.

Equally gorgeous but with a little more sunlight on its wings is La Puta y la Ballena (The Whore and the Whale), with which I was already a little familiar. Once again the performers gracefully apply themselves to the lovingly crafted score, this time littered with moments of high passion – thanks in no small part to the ubiquitous Argentine instrument the Bandoneon (performed by Néstor Marconi). Both this and Inheritance were released by Mellowdrama Records here in the UK… Seek them out!

Cut from a different cloth is La Seňal which finds Tarrab & Goldstein exacting a fond homage to Bernard Herrmann. The score was composed for a thriller set during Eva Peron’s twilight years as corruption and the mafia make their presence known in BA. The CD selection was brief but powerful, with intense string performances and a brilliant musical nod to Vertigo’s famous ‘Scene d’Amour’…

Quite enlightening then, hearing this wonderful symphonic music from Argentina… A brief glimpse of some music from Deuda (The Debt) on a promo DVD from the composers offered a whole different style, which sees them embracing a more inherent local flavour… It was fabulous music and I’d like to hear more of that celebratory, colourful Argentine flavour.

You know the names Santaolalla and Bacalov… now remember Tarrab & Goldstein, two men who I think are just marvellously talented composers who appear to absolutely love what they do and place that love at the very heart of the music they make. Discover more by visiting agdtfilmmusic.com

More from On The Desk coming soon – including Debbie Wiseman’s The Promise and Alex Heffes The Rite.

Danny Elfman’s The Next Three Days is available from Silva Screen Records – silvascreenmusic.com – while BSX Records’ The Bounty is available from their websire – buysoundtrax.com...

And I'm back...

Okay it’s a new year, which means I’ve made several resolutions and while these include making a better attempt at learning some Portuguese and going to the gym (big tick against the latter) I feel the most important to anyone reading this is thus: Blog. More. So here goes, 2011 blogging underway. Film Music and, as ever, More Besides.

So what have I to say in this, my first blog of the new year? Well I’ll come to that, but first I’d like to express my amusement at the Golden Globe for ‘Best Original Score’ going to The Social Network. Did it even have a score? Wait, of course it did… not traditional by any means and perhaps I shouldn’t poo-poo the work of… who was it again? Sorry. The BAFTA nominations, now there’s a list of contenders: Powell, Zimmer, Rahman, Desplat and Elfman. I’d like to see Alexandre Desplat take home a Mask finally – for The King’s Speech -, though Zimmer’s efforts for Inception were utterly brilliant. Hans has been nominated four times throughout his career… so maybe he’s overdue? Elfman too I guess, but he shouldn’t win for Alice in Wonderland… should he? and anyway, I'll never forgive that terrible jig at the end.

The truth is the films with the biggest PR & Marketing junkets tend to win the awards it seems, which is why The Social Network took the Globe this month for Music. I genuinely think The King’s Speech is the biggest British film of the year (though it’s a co-prod. With Australia) and therefore BAFTA will bestow Desplat, finally, with an award… let’s see eh? We’ll find out on 13 Feb.

What else then…

Ah yes, the point of this blog – apart from an awards moan – is to re-instate my ‘On The Desk’ series of blogs. This allows me to air my thoughts and musings on music that is sitting on my desk (funnily enough!). I do still, from time to time, receive albums for review purposes and while I just haven’t the time to write full reviews any longer, I feel it’s only fair to those who continue to provide me with freebies that I at least give them a ‘shout out’. Of course from time to time, and as whim takes me, I may decide I want to share a much fuller analysis of something I’ve enjoyed/hated/whatever. So keep an eye out…

In other news (not that I want to particularly be a newsy) one of my favourite composers, and indeed people, has a couple of delightful albums on the way in the next few weeks, which is great. Debbie Wiseman has composed another score for director Peter Kosminsky, The Promise, which is a five part drama screening on Channel 4 in February. A very generous album of Debbie’s gorgeous and emotional score is coming from Silva Screen! Don’t miss that and don’t miss Rhino Records’ disc of the BBC’s Land Girls which offers some of Debbie’s lovely accompanying notes, an original song performed by ‘The Soldiers’ and also, if that weren’t enough, some period wartime songs. Ought to be very tuneful. Both Wiseman discs available in February I think.

So first blog of the year closing. Next time I shall be picking my way through some of the discs on the desk.. which include some delightful discoveries from Buenos Aires-based composing duo Daniel Tarrab and Andrés Goldstein, a new release of Vangelis’ The Bounty and, as ever, much More Besides.

Happy New Year!