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I had a chance to meet John Williams once at the Los Angeles premiere of the first Harry Potter movie. I was standing right next to him on the red carpet, but for once, I was star-struck. I grew up in Hollywood and have family in the business and have met many celebrities and "important people". I have a rule that I don't speak to them unless they address me first or I get introduced, but this time I regretted it. I remember thinking afterwards that I could have started the conversation talking about his tuba concerto. Oh well.

As far as the LSO is concerned, I haven't dealt with them first hand, but my friend Scott Smalley who is a big orchestrator has conducted them many times. He has recorded in all of the major studios with every combination of studio players, but he says that you cannot compare them with the LSO. They play more together and in tune than any orchestra he has had the pleasure to work with.

He also talks about a special magic that happens when the LSO records at Abby Road studio in London. According to Scott, Abby Road is on an "earth energy" line that runs straight from Stonehenge to the studio. He has done research and has found that crop circles appear near Stonehenge every time the LSO records at Abby Road. It is far out stuff but I have looked around and confirmed that he is actually onto something. I have yet to hear a sountrack that sounds like the ones from the LSO, so he may be on the right track. I suspect that there is some form of angelic or demonic communication going on through the music.

John Williams came to Washington, D. C. in 2002 and conducted the Marine Band at the Kennedy Center in a concert of his music. That evening, we provided our own opening act with a jazz band performing some of John Williams' big band arrangements. Even for a John Williams fan like myself, the breadth of his body of work was simply amazing. We had several days of rehearsals with him at the helm, and he could not have been more gracious and generous with his time. Everyone wanted handshakes and pictures and autographs, and he happily accomodated each and every one of us. He was the consummate professional the whole time, and brought out the best in our musicians.

That evening was one of my favorite performances in the Marine Band, and every part of John Williams' visit was a positive experience. He is a first-class individual.

Lucky

Some intellectual snobs look down their noses at John Williams' music as being overly derivative. I unashamedly and unabashedly enjoy his music with the conviction that it will continue to be performed long after the "academically acceptable" music of many 20th and 21st century composers has disappeared.

Tom Holtz wrote:He was the consummate professional the whole time, and brought out the best in our musicians...He is a first-class individual.

Why were there such ruffled feathers during his tenure as Music Director of the Boston Pops?

There is a great book about the LSO that just came out last year, celebrating their 100th anniversary. The title escapes me, but I have it at home, if you are interested in more info. John Williams, and the Star Wars recordings are covered in the book.

The next time you watch "Catch Me If You Can" pay attention to the theme. Some amazing stuff going on.

IkeH wrote:The next time you watch "Catch Me If You Can" pay attention to the theme. Some amazing stuff going on.

I went straight to the store and bought the soundtrack after the movie. A great move back to some of Mr. William's TV days in the seventies. I saw the Hollywood Bowl Orchestra play "Catch Me If You Can" and it was fabulous. A few guys I have worked with played on that soundtrack and said it was an absolute blast!

IkeH wrote:The next time you watch "Catch Me If You Can" pay attention to the theme. Some amazing stuff going on.

That score was a serious chunk of music. For the Kennedy Center concert, the alto sax, vibes, and bass were standing front and center like a combo in front of the band. John Williams billed that arrangement as an alto saxophone concerto, but the vibes player is right with the sax for most of the chart. Great sounds, and not easy.

That score was a serious chunk of music. For the Kennedy Center concert, the alto sax, vibes, and bass were standing front and center like a combo in front of the band. John Williams billed that arrangement as an alto saxophone concerto, but the vibes player is right with the sax for most of the chart. Great sounds, and not easy.

The piece is on our program for Sunday night- I like it a great deal.

Who is the arranger of your version of Escapades? Is it the Steve Bulla chart?

Yep, it's Bulla. Hot off the presses, so I hear.

Adam C. wrote:

That score was a serious chunk of music. For the Kennedy Center concert, the alto sax, vibes, and bass were standing front and center like a combo in front of the band. John Williams billed that arrangement as an alto saxophone concerto, but the vibes player is right with the sax for most of the chart. Great sounds, and not easy.

The piece is on our program for Sunday night- I like it a great deal.

This is reminiscent to me of Mancini's better stuff, w/whom JW played in his younger days(remember the piano part on Peter Gunn? Johnny W.)