French composer Michel Legrand — the genius behind such unforgettable movie songs as “I Will Wait for You,” “The Windmills of Your Mind,” “What Are You Doing the Rest of Your Life” and others — died Jan. 26 in Paris. I adored his scores as much as his songs, ranging from classics like The Umbrellas of Cherbourg and Summer of ’42 to less well-known but no less stunning scores for films like Peau d’Ane, Wuthering Heights, The Go-Between and The Three Musketeers. Few composers could boast as many familiar movie themes as Legrand. I was lucky enough to interview him, I think, three times over the years, and to see him in concert (whether with a full orchestra or just a small jazz combo) was never less than a complete joy. My obituary in Variety was followed by a collection of memorable moments from his career visible on YouTube.
I was honored to be asked to pen the program notes for the Los Angeles Philharmonic’s four-day series of concerts paying tribute to the great John Williams. Gustavo Dudamel conducted a thrilling greatest-hits collection of music that included four of his Oscar winners (Jaws, Star Wars, E.T., Schindler’s List), popular movie hits (Close Encounters, Raiders, Jurassic Park, Harry Potter) and more. I’m also delighted to be able to announce that I have written the liner notes for Deutsche Grammophon’s upcoming 2-CD recording of those concerts. Click on the image at left to read the L.A. Phil program notes.
Waking up on Oscar morning to find out the nominees is exciting enough — racing to be the first online with a thoughtful, historically informed analysis can make the heart beat even faster. This year was no exception, and our initial breakdown of the nominees was up within an hour of the announcement. It took another couple of hours for all of it to sink in and follow up with 10 surprises and a few cogent observations about the race.
This wasn’t supposed to happen. Nick Redman, a close friend for nearly 30 years and a collaborator on dozens of film and record projects, died on January 17. He was only 63, and while he had been battling cancer for the past two years, we all thought he’d be around much longer. He was a major presence on the film-music scene, having produced hundreds of albums (including first-ever releases of such classics as Laura and Dirty Harry and many of the brilliant scores of Jerry Fielding); and he was a formidable filmmaker too, earning a 1996 Oscar nomination as producer of The Wild Bunch: An Album in Montage. He was best man at my wedding and many of the DVDs and CDs pictured on this website (projects I’ve contributed to over the years) were his productions. Writing his obituary for Variety was one of the hardest tasks I’ve ever faced.
One of the world’s great jazz trumpeters has a secret desire: to set aside the instrument and transition into a new career of writing music for movies. Arturo Sandoval recently wrote the underscore for Clint Eastwood’s The Mule — for which he also played the trumpet and penned the delightful Latin-infused source music. We visited with Sandoval at his studio for Variety and talked with him about his odyssey from Cuba to America, his collaboration with Eastwood and his hopes for a new career (we were reminded that he’s already won an Emmy for scoring his own life story in HBO’s For Love or Country).