Even though it relies heavily on film scorer John Barry's by-now formulaic (if no less effective) methodology of fusing his distinctively luxuriant string arrangements with the music of whatever time or locale the score sets out to evoke (in this case, largely the Hollywood of the 1910s and '20s), the composer triumphed once again, garnering his second Academy Award nomination of the 1990s. Perhaps because of the years he spent dues-paying with English pop and jazz combos, Barry gets inside this period jazz and ragtime with both enthusiasm and, more importantly, taste, recalling similar effective efforts on Francis Coppola's The Cotton Club.
2010 collection of iconic recordings from one of music's most memorable and successful acts. From hit singles to fan favorites and album tracks, this compilation of great tunes tells a more fulfilling story than any written biography ever could. One listen and you'll understand why this release is part of the Icon series! A three-time Grammy Award–winner known for his distinctive bass-baritone voice and romantic image, White's greatest success came in the 1970s as a solo singer and with The Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe"…
A superbly atmospheric John Barry score effectively conveyed the mood of swinging London for this 1965 film by Richard Lester. Usually playing around with variations of the haunting main theme, Barry used vivacious horns, melancholic strings, and above all a groovy jazz organ (played by Alan Haven). A couple of the tracks don't work well in isolation: the vaudevillian "Something's Up!," and the vocal version of the main theme (not used in the film) by mediocre singer Johnny De Little. But overall, it's got a consistently captivating groove, rating as one of Barry's best scores.
You may remember a film from the early 1970s called Henry VIII & his Six Wives, starring Keith Mitchell, Donald Pleasance, and Charlotte Rampling; it was notable for its score, which not only featured authentic music of the period (nearly unheard-of at the time), but also was, according to David Munrow, “the first historical film in which the music has been scored entirely for historical instruments.” Munrow also added a few numbers of his own to satisfy the needs of the movie, patterned after 16th-century style and form. Although these days such attention to authenticity is common, even expected, Munrow was one of the pioneers in bringing musicological research and the more immediate practicalities of really old, original instruments and stylistic practice to the level of popular culture. Of course, also in these early days was planted the impression that period instruments must necessarily be somewhat clunky and (to varying degrees) not quite ideally in tune–and in some cases, just plain annoyingly squawky and prone to obnoxious buzzing noises. While this generally fine issue from Testament offers many reminders of those times, when musicians were still finding their way in unfamiliar territory (and often using very user-unfriendly instruments), this release will prove mostly a delight for early music fans–and will be a real treat for those who own the original LPs from which these tracks were drawn.