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No electronic keyboards and software for this veteran gentleman!

By Terry walstrom
08 June 2003

If we regard a film such as King Kong as an exception because it was shot while he was scoring it, we find he has a preferred approach. He likes to read the script FIRST before accepting an assignment. Why? It might be a strong tip-off that crap is on the way!

Barry likes to know what the decision-maker on the film wants for the background score. Why? He has been chainsawed from disagreements between a director and producer before (i.e. Born Free).

Barry likes to have - at least - a rough cut of the film to work from. Why? He is stimulated in the right direction by the Je ne sais quoi that emanates from the screen which no script can divulge in advance. Barry is attracted to the emotional core of a film. Is love, passion, revenge, loss, pathos the pivot point? If so, Barry can identify with that and his muse awakens.

Sometimes he is merely attracted by a genre or a director or a writer attached to a film's ethos. The Bruce Lee film Game Of Death lured him because of the worldwide magic of Lee's cult following. The Tamarind Seed had Blake Edwards at the helm and two fine actors at the center of the spy genre which was different in every way from his previous Bond forays into that oeuvre. Dances With Wolves was scenic, panoramic but personal--with one man at the center of the drama. All these considerations aside.... John Barry watches the key scenes over and over on his little viewing screen Moviola. He sits at his piano and plays chords while watching the flow of the images. The chords, the mood, the marriage of image and sound trigger that primal wellspring of dramatic affinity within his musical soul.

When an idea catches fire he fleshes it out. No electronic keyboards and software for this veteran gentleman! The sharpened pencil and staff paper are his companions as he, as Beethoven and Prokofiev before him, dots in the bass notes, the harmonic progression and the all-important topline of melody - glorious melody! In a jazz oriented score such as The Knack, Barry primarily uses the core idea of a strong melody which can sustain variation upon variation as the unifying element around which the score is built.

John Barry has an extraordinary gift for arranging. What instruments will play, in what combinations and how they will nip and tuck together and separately are the lifeblood of his special "sound". From his unique experience as a musician who has played ensemble with a group in front of a live audience Barry has one phenomenal advantage over conservatory trained composers. Barry knows that the flesh and blood lips and fingers of the person blowing, plucking and strumming are the center of gravity, the science and the magic of what the audience will hear and, especially - FEEL when the music is heard at last.

How much freedom will JB pencil in for the musicians? It goes like this. Barry has the central terra firma on paper; the chord progressions, the harmony, the punctuations of rhythm and cadence and the skeleton of form and function. But, he knows personally that there must be room for an improvising musician to let loose and *feel* their way through a moment in time. On The Knack, for example, Alan Haven is improvising his way through 99% of the score which imparts a looseness which would otherwise be missing. Often the muted trumpet part is ad lib. A coda to a piece can suddenly erupt with improvisation and madcap mayhem lending a New Orleans smoky cafe atmosphere to an otherwise conventional play through. The essential concept stitching together the various parts is the byplay and movement of the musical activity between groups and individuals. No stiffness allowed!

Do musicians enjoy working under his baton? The man is a legend! He knows his stuff. He understands his own music as a musician first and as a listener. There is little that is "old school" in his approach. He has played gigs as a trumpeter and bandleader. Fun, but no nonsense - that's our man. In the recording studio with the film running on the big screen at a session Barry often finds a last minute remedy for a scene that isn't working.
At the Goldfinger recording session, for example, he realised something was missing upfront. He had not composed the trumpet fanfare at the outset of Goldfinger, only the chords. Instinctively, on the spot, he wrote the now famous brass intro - and the rest is -well, an amazing moment in musical history.

He can change a line, add a harmony, excise a pattern that isn't working or create a miracle on the spot while the musicians warm their chairs. No mean feat - but, one of the major reasons he lasted so long in an industry that sweeps up yesterday’s heroes and dumps them in the dustbin with nary a blink of an eye.

The above is a loose accounting of the manner and method of a man alone. Once the contract is signed and millions of dollars invested in a fragile medium that can sink into oblivion if the audience is indifferent - Barry goes to work much as a surgeon with dying patient's heart in his hand. It is all up to him! His success and our collective enthusiasm testify to his expertise as a miracle worker par excellence!

Vive la Barry!

Terry Walstrom

Read 46809 times Last modified on Tuesday, 24 February 2015 14:52
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Play It Again Records CD catalogue offered the discerning listener a wide choice of digitally re-mastered recordings from film and television, and rare collections of work from the likes of Don Black and Ron Grainer.

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A lot more James Bond concerts collected on the link below, I have put them all in this news item. So check it out from there!

http://www.moviesinconcert.nl/index.php?page=concertlist


James Bond Concert Spectacular at Buxton Opera House

Buxton Opera House
Water street,
Buxton, Derbyshire, sk17 6xn

Sun 12 Aug
7:30pm

Website

The popular Q The Music Show brings its James Bond Concert Spectacular to Buxton Opera House.

The 13-piece band will be bringing the fabulous and iconic music of James Bond to you in a stunning concert. This show has been a huge success all around the world with its energetic and exciting performance by some of the UK’s leading musicians.

Featuring all the songs from the 007 movies, you can hear the greats like Goldfinger, Diamonds Are Forever, Skyfall, Thunderball, Live And Let Die, Goldeneye and Licence To Kill amongst all the others. With top musicians and an informative and highly amusing compere, this show has everything you could want for a fabulous night out – and one that you will be talking about for years to come. Formed in 2004, Q The Music Show have established a worldwide reputation for their authentic covers, orchestral sound and fabulous hair-raising vocalists. The show has been popular abroad at events in Monte Carlo, Switzerland, Germany, Italy, Guernsey, Prague and many others.


The Music of BondThe Music of Bond
Royal Albert Hall
Wednesday 19 September 2018
Starts: 7:30pm

Website

Presented by Gemma Arterton (Quantum of Solace). Over fifty years of timeless James Bond themes from all your favourite 007 films.

Hits from Goldfinger, Licence to Kill, Casino Royale, Skyfall, Diamonds Are Forever, Live and Let Die, Spectre, From Russia with Love to name just a few, all sung by outstanding vocalists Alison Jiear and Matthew Ford.

Royal Philharmonic Orchestra
Gareth Hudson Conductor
Alison Jiear Vocalist
Matthew Ford Vocalist


The Bridgewater Hall - Music of John Barry November 2018

The Music of John Barry

Saturday 10 November 7.30pm
The Bridgewater Hall
Lower Mosley Street
Manchester, M2 3WS

Website

Nicholas Dodd conductor
Andrew Collins presenter
Manchester Camerata

John Barry created some of the most memorable and recognisable film scores of the 20th century, such as Midnight Cowboy, Out of Africa, Dances with Wolves, Zulu and of course much of the music from the James Bond series; his versatility and originality were peerless. His death in 2011 deprived cinema of a true musical great. This concert pays tribute to his life and music with a carefully selected programme, conducted by Nicholas Dodd, who collaborated closely with the composer on his later films. Nicholas Dodd is regarded as one of the leading conductors and orchestrators of Hollywood film music and is a noted expert on, and performer of John Barry’s music. In fact, every James Bond movie from the last 10 years bears his signature.