However, back to Star Wars! It is well known that John Williams became a big fan of the LSO and especially of their first trumpet, the late (great) Maurice Murphy. Maurice was to play on the first six Star Wars films and John Williams was later to describe “..the amazing, electrifying moment…” he first heard Maurice launch into the opening bars of Star Wars. Denis Wick: “Star Wars was actually Maurice Murphy’s first date as an LSO member...a real baptism of fire!” In 1977 the recording process was very different from today. There were no three bar ‘drop ins’ or clever digital edits, with everything being recorded to tape. Frank Mathison: “I remember Anvil Studios having a really big screen set up behind the orchestra and we recorded live along with the film.” Eric Crees: “There were no click tracks and John Williams was sometimes really quite rubato in a very musical way.” Roger Groves: “John Williams was the complete master of timing and synchronisation of each take, so things were done quite quickly compared to these days.” Denis Wick: “John was highly skilled at this. The parts had been copied (manually!) overnight and at the 9:30 start we played each section through to check for mistakes, then recorded it with the film. There were usually only about 2 takes. It was a real production line. The LSO excelled at sight reading.” I asked Denis, Eric, Roger and Frank what their first impressions of the score were and also, in contrast to many film sessions being ‘long note practice’, if they enjoyed recording Star Wars and working with John Williams. Roger Groves: “My first impression of the score was mind blowing ... it involved a huge orchestra and John Williams’ inventiveness and mastery of orchestration was superb ... as for long note practice, JW’s scores were very demanding and technically difficult but he knew what each instrument was capable of, so nothing was ever awkward to play.” Denis Wick: “Brilliant scoring, good tunes, well-written ... the main
enjoyment was the music. I always had an absolutely first-rate team and we always enjoyed ourselves.” Frank Mathison: “John Williams was quite particular but always pleasant ... not like Bernard Herman!” Eric Crees: “It was quite exciting and John really set the standard for the big tunes and heroic themes. He was a gentleman to work with, but quite exacting in his demands – he knew what he wanted and how to get it.” L-R Denis Wick, Eric Crees, Roger Groves
After Anvil Studios’ sale and subsequent demolition in 1980 the majority of film recording work moved to the famous Abbey Road Studios, which for many must have been a relief. Denham is a little way out of London and 9:30 starts won’t have suited everybody. Frank Mathison: “Around that time I had a caravan near Denham which we stayed at between sessions in order to be fresh for 9:30....” Eric Crees: “I remember Frank’s caravan. After spending the evening there we were anything but “fresh” at 9:30!” Of course nearly 40 years later the Star Wars franchise is still in full swing with numerous video and computer games using the music. Eric Crees: “Only the other day did I get a small cheque for the original soundtrack having been used on a theme park ride or something.” Frank Mathison: “I’m often getting people ask ‘Are you the guy who played on Star Wars, can I get my picture taken with you?’ - it’s embarrassing really!” Frank Mathison
Perhaps one spin-off of the Star Wars music best forgotten is the disco-fied version of the main theme that topped the billboard charts for two weeks in 1977 by Meco (real name Domenico Monardo; born November 29, 1939). Meco was a professional trombonist and contemporary of Chuck Mangione and Ron Carter, all having studied at the Eastman School of Music. Meco was a member of Kai Winding’s four trombone band and active as a studio musician in the ‘60s and ‘70’s. Although not originally inclined towards pop music, Meco famously performed the trombone solo on Diana Ross’ single I’m Coming Out, notable because of the rarity of trombone features on post big-band era pop records. Whilst the decision to ‘discofy’ John Williams’ themes maybe dubious (which Meco was to subsequently do to both Close Encounters and Superman) in his defence Meco is quoted as referring to his production partners as saying “...(they) would not let me be too musical... It’s not dumb enough - it’s too good.” Since the original 1977 film there have been, to date, a further five films employing the services of the London Symphony Orchestra and its slowly changing personnel, including Arthur Wilson, Roger Brenner, Dudley Bright, Katy Pryce, James Maynard, Dave Stewart, Ian Bousfield and Bob Hughes. Although the LSO had the dates earmarked for the sessions of The Force Awakens, due to last minute production schedule changes, regrettably the latest soundtrack was recorded in Hollywood by a scratch band including Bill Booth, Alex Iles, Phillip Keen, Bill Reichenbach, Steve Holtman and James Miller on trombones. Let’s hope this doesn’t mark the end of the JW/LSO partnership and the future of world-class film soundtrack recordings returns to London once again. Many thanks to Denis, Eric, Roger and Frank as well as invaluable help from Andy Phoenix, Steve Moss and Libby at LSO archives. 17