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albums08

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 30483 times Last modified on Tuesday, 24 February 2015 14:52
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Have a look at our old "Play It Again" label website here.

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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John Barry related Events or Concerts


Submit your Event or Concert, This email address is being protected from spambots. You need JavaScript enabled to view it. We will not be responsible for any errors or inaccuracies.


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


19 Nov 2017

   Canada   Thunder Bay Shaken Not Stirred – The Music of James Bond

*

James Bond Spectacular
December 1, 2017
Time: 19:30

Camberley Theatre,
Knoll Road,
Camberley,
Surrey, GU15 3SY,
GB

Website

The popular James Bond Concert Spectacular by Q The Music Show is coming to Camberley Theatre.

They 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...


 

Wiener Konzerthaus
Lothringerstraße 20, 1030 WIEN
(that's Vienna!)

Samstag 2 Dezember 2017
19:30 Uhr
Großer Saal

Sonntag 3 Dezember 2017
19:30 Uhr
Großer Saal

Dieses Galakonzert lässt 53 Jahre Bond-Movies live und auf großer Kinoleinwand Revue passieren. Von John Barrys «Goldfinger», «Thunderball» und «Diamonds Are Forever» über «Licence To Kill», «A View To A Kill» und «Goldeneye» bis hin zu «Skyfall» und dem Song des bislang letzten Bond-Streifens, «Writings On The Wall». Spezielle Arrangements für großes Symphonieorchester garantieren neben den Star-Interpreten einen unvergesslichen Abend.

Am 2. und 3. Dezember 2017 werden die legendären Songs und Scores aus den Bond-Movies von den Star-Interpreten Maya Hakvoort, Nazide Aylin und Sandra Pires im Wiener Konzerthaus präsentiert. Dabei werden sie von einem großen Symphonieorchester, ergänzt durch Top-Instrumentalsolisten für den speziellen Bond-Sound, begleitet, während die berühmten Filmszenen auf eine Leinwand projiziert werden. Die Arrangements stammen vom musikalischen Leiter der Galakonzerte, Alex Johansson. Als besonderes Highlight wird Stargast Conchita ihre Lieblings-Bondsongs interpretieren.


Q The Music Show - James Bond Tribute Band
Live James Bond Concerts
Sun 25th Feb 18 (7.30pm)
Victoria Halls, Stoke-On-Trent
with Madeline Smith (Live & Let Die)
Details: www.QTheMusicShow.com/victoriahall


Q The Music Show - James Bond Tribute Band
Live James Bond Concerts
Sun 11th Mar 18
The Woodville, Gravesend
with Madeline Smith (Live & Let Die)
Details: www.QTheMusicShow.com/thewoodville


 Q The Music Show - James Bond Tribute Band
Live James Bond Concerts

Sun 25th Mar 18 (6pm)
King's Theatre, Southsea, Portsmouth
with Madeline Smith (Live & Let Die)
Details: www.QTheMusicShow.com/kingstheatre


 Q The Music Show - James Bond Tribute Band
Live James Bond Concerts

Wed 4th Apr 18
Southport Theatre
with Caroline Munro (The Spy Who Loved Me)
Details: www.QTheMusicShow.com/southporttheatre


Q The Music Show - James Bond Tribute Band
Live James Bond Concerts

Sun 8th Apr 18
Aylesbury Waterside Theatre
with Caroline Munro (The Spy Who Loved Me)
Details: www.QTheMusicShow.com/waterside


Q The Music Show - James Bond Tribute Band
Live James Bond Concerts

Sun 6th May 18
New Victoria Hall, Woking
with Caroline Munro (The Spy Who Loved Me)
Details: www.QTheMusicShow.com/newvictoria