Shows
The Baton: A John Williams Musical JourneyEpisode 112 - The FabelmansHost Jeff Commings is back on The Baton to discuss what might be the final film collaboration between director Steven Spielberg and composer John Williams. The Fabelmans is Spielberg's semiautobiographical film about his family and the beginnings of his career as a filmmaker. Though the film is 200 minutes long, there is only about 30 minutes of original music from John Williams in it. Commings details a couple of the highlight musical cues, including a now-iconic dance scene with Michelle Williams, and what Williams had been doing in the two years since finishing work on The Rise of Skywalker..
2022-12-2255 min
The Baton: A John Williams Musical JourneyEpisode 103 - War HorseJohn Williams had the opportunity to return to the English style of music he loves so much, drawing on the influences of Ralph Vaughan Williams for his score to Steven Spielberg's film "War Horse." Host Jeff Commings is joined by composer Victor Josse for this look into the stunning setpieces of the film and the music that accompanies them. That includes the moving prologue, the emotional plowing scene and the heartbreaking dash through No Man's Land.
2020-11-041h 19
The Baton: A John Williams Musical JourneyEpisode 102 - The Adventures of TintinThough John Williams didn't have a film score released in 2009 or 2010, he was working hard during that time on his next project, an animated film adaptation of the popular Tintin character, called "The Adventures of Tintin." Host Jeff Commings talks about why Williams was allowed nearly two years to write the score, as well as the other pieces of music he wrote in that timeframe. Co-host Felix Moller helps to discuss the musical themes in the film, including the ways Tintin's theme is linked to Indiana Jones' theme. But that's just one way these two movie heroes are linked, s...
2020-10-2858 min
The Baton: A John Williams Musical JourneyEpisode 101 - Indiana Jones and the Kingdom of the Crystal SkullJohn Williams' 100th film brought him back into the world of Indiana Jones, this time writing music for our fedora-wearing adventurer's quest to find a mythical skull that has strange powers. Joining host Jeff Commings on this episode to discuss the highs and lows of the film and score is Brian Martell, marking his fourth appearance on "The Baton." The two discuss Shia Labeouf's miscasting, Cate Blanchett's spot-on acting and the various callbacks to previous Indiana Jones scores that melded with new thematic material. It's going to be a 95-minute ride that could change your thoughts about the film!
2020-10-211h 35
The Baton: A John Williams Musical JourneyEpisode 100 - MunichBreak out the confetti and party hats! The 100th episode of The Baton is here! And on this episode, host Jeff Commings talks about John Williams' haunting score for Steven Spielberg's "Munich," the story of revenge after the 1972 deaths of 11 Israelis at the Munich Olympics. John Williams gives us four themes that provide the mold for the score, a radical departure from his work on Spielberg's "War of the Worlds" earlier in the year. From a gut-wrenching vocal by Lisbeth Scott for the Israeli hostages to a main theme that is transformed into what Commings believes is the best...
2020-10-1443 min
The Baton: A John Williams Musical JourneyEpisode 99 - Memoirs of a GeishaJohn Williams wanted to be the composer for the film version of the novel "Memoirs of a Geisha" long before a script was written or a budget finalized. He realized the opportunity to infuse Japanese flavors into a Westernized score, and he enlisted the help of previous collaborators Yo-Yo Ma and Itzhak Perlman to play on the cello and violin, respectively. Host Jeff Commings talks about the themes in the score, and examines the scenes in which three Japanese instruments are highlighted throughout the film. Though the movie did not gain a Best Picture Oscar nomination as hoped, the f...
2020-10-0752 min
The Baton: A John Williams Musical JourneyEpisode 98 - War of the WorldsSteven Spielberg had long wanted to do an alien invasion movie featuring very bad visitors to Earth, and he finally checked that off his list with "War of the Worlds." In telling the story, John Williams went into full horror mode, employing some of the tactics used previously by such classical composers as Igor Stravinsky, especially in the first alien attack that turned out to be one of the most violent nonfiction moments Spielberg has put on film. Host Jeff Commings is joined by composer/conductor Eduardo Victoria as the two detail the high points of the score and h...
2020-09-3056 min
The Baton: A John Williams Musical JourneyEpisode 97 - Revenge of the SithHost Jeff Commings starts this episode of "The Baton" with a not-so-great opinion about John Williams' score to "Revenge of the Sith," the final film in the "Star Wars" prequel trilogy. Can co-host Andrew Ledford change our host's mind about the score as they discuss the use of the Emperor's theme, the Force theme and the music for all the lightsaber battles? It's going to be a tough sell, but by the end of the episode, it's likely that hearts and minds will be changed about this film ... except for Hayden Christensen's acting, of course.
2020-09-231h 08
The Baton: A John Williams Musical JourneyEpisode 96 - The TerminalThough the movie and score for "The Terminal" might seem like a blip on the radar, neither Steven Spielberg nor John Williams approached this film any less seriously than their major successes. The story marks Tom Hanks' third film with Spielberg, as an Eastern European man stuck in the JFK airport for nine months. Williams supplies a wonderfully light theme for Viktor, as well as a lyrical love theme that host Jeff Commings believes could have been turned into a beautiful love song by Alan and Marilyn Bergman. Grab a plate of cannelloni and join us for this exploration of...
2020-09-1632 min
The Baton: A John Williams Musical JourneyEpisode 95 - Harry Potter and the Prisoner of AzkabanMany John Williams fans sneered at the music for "Harry Potter and the Prisoner of Azkaban," mostly because the Maestro chose to almost completely scrap the musical ideas he created for the first two films in favor of darker themes and tonalities in Alfonso Cuaron's take on the franchise. Host Jeff Commings is joined by Paulius Eidukas as the two talk about some of the new themes that make up the score and how some of the compositional techniques made Sirius Black and Peter Pettigrew musically intertwined with each other. Both praise Williams' work for the film and lament t...
2020-09-091h 07
The Baton: A John Williams Musical JourneyEpisode 94 - Catch Me If You CanJohn Williams capped off a marathon year of writing film scores with his Oscar-nominated composition for Steven Spielberg's dramedy "Catch Me If You Can." The score gave Williams the opportunity to return to his jazz roots, writing music that reflected the 1960s setting of the film. Many of the music cues feature saxophone solos by Dan Higgins, who joins host Jeff Commings to talk about his musical background and why playing the music in the score fit perfectly into his performance style.
2020-09-021h 14
The Baton: A John Williams Musical JourneyEpisode 93 - Harry Potter and the Chamber of SecretsThe demanding work schedule John Williams faced in 2002 meant he had to make a tough choice for his score to "Harry Potter and the Chamber of Secrets." He asked composer/orchestrator William Ross to help out by adapting much of the music from the first film for use in the sequel, while fitting the new music Williams wrote into certain places. This allowed Williams to work on Steven Spielberg's second film of the year, but it meant trusting that Ross would do a good job with his music. Host Jeff Commings details the specifics regarding Ross' responsibilities, as well a...
2020-08-2631 min
The Baton: A John Williams Musical JourneyEpisode 92 - Minority ReportJohn Williams didn't have a lot of time to think about the score for Steven Spielberg's futuristic science fiction thriller "Minority Report," going right into the project almost immediately after finishing work on "Attack of the Clones." Spielberg and Williams agreed on a score that put more emphasis on tone rather than melody, something that was quite new for a Spielberg/Williams collaboration. But, the film manages to create some compelling themes and interesting action cues, with the flute section getting a lot of play during some masculine and powerful fight scenes. Host Jeff Commings breaks down the various t...
2020-08-1946 min
The Baton: A John Williams Musical JourneyEpisode 91 - Attack of the ClonesThe 2002 film "Attack of the Clones" not only challenged John Williams with continuing the musical portrait he started with "The Phantom Menace" and closing the gap with the original "Star Wars" trilogy, but also trying to write a compelling score before he had to dash off to write music for "Minority Report." In the end, Williams was unable to finish his score, using music from "The Phantom Menace" to cover the climactic battle scene that was still being created in the visual effects department. Host Jeff Commings details the two new themes that were created for the film, which in...
2020-08-1240 min
The Baton: A John Williams Musical JourneyEpisode 90 - Harry Potter and the Sorcerer's StoneThe 90th episode of "The Baton" highlights the return to the melodic theme composition styles that made John Williams famous in the 1970s and 1980s. With "Harry Potter and the Sorcerer's Stone," Williams creates no less than seven new themes for the main characters and the title stone that causes so much trouble. Host Jeff Commings details all seven themes and their appearances in the score, including the fun Quidditch match and the thrilling chess game. There's also a look at the final piece of music Williams wrote in 2001, a rousing theme for the 2002 Winter Olympics to be held i...
2020-08-0551 min
The Baton: A John Williams Musical JourneyEpisode 89 - AI Artificial IntelligenceJohn Williams' score to "AI Artificial Intelligence" has a cold and detached feeling for most of the film, mostly using synthesizers to depict the life of a robot boy who wants to become human. But, some of the best moments in the score come when Williams unleashes the organic strength of the orchestra, in scenes such as David's abandonment in the woods or the arrival to Manhattan. But, one of the standout moments comes during a nighttime chase through the forest, when Williams' son Joseph provides a heavy metal-style jam that perfectly encapsulates the feel of the scene. Host Je...
2020-07-291h 00
The Baton: A John Williams Musical JourneyEpisode 88 - The PatriotFor the final time in his career, John Williams stepped in as replacement composer, this time for the Revolutionary War action film "The Patriot," starring Mel Gibson in a role very similar to the one he played in "Braveheart" five years earlier. Though the film is largely fictional, the war setting provided John Williams with some great opportunities to write music for instruments of the time. But, the focus in the action scenes relied on some incredibly difficult writing for brass instruments. Host Jeff Commings analyzes some of those cues with the fun brass runs, as well as the t...
2020-07-2250 min
The Baton: A John Williams Musical JourneyEpisode 87 - Angela's AshesThough two composers had won Oscars for their scores on previous Alan Parker films, the director didn't reach out to them to write music for his first straight nonmusical drama in almost 10 years. Neither Giorgio Moroder or Michael Gore would have fit the mold for the music needed for "Angela's Ashes," based on the Pulitzer Prize-winning memoir by Frank McCourt. John Williams had read the book and agreed to do the score, opting to forgo any of the typical Irish instruments that he employed seven years earlier for "Far and Away." Host Jeff Commings examines the score's universal appeal th...
2020-07-1539 min
The Baton: A John Williams Musical JourneyEpisode 86 - The Phantom MenaceFans were going crazy in anticipation of the return to the Star Wars galaxy with the release of "The Phantom Menace" in theaters. How would John Williams' score reflect that we are getting a lot of new characters while also keeping us musically grounded in the familiar? Though Williams used the main theme in the opening crawl, he decided to create a lot of new thematic material, including a bold choral piece called "Duel of the Fates" that has gained a life outside the film. Its constant play on MTV in the weeks leading up to the film's debut c...
2020-07-081h 16
The Baton: A John Williams Musical JourneyEpisode 85 - StepmomThe story of John Williams' hiring to write the score for "Stepmom" has been the cause of rumor and hearsay for more than two decades, since the involved parties have never spoken publicly about how Williams came to replace Patrick Doyle as composer after Doyle supposedly turned in a complete score. Host Jeff Commings details the many rumors that have circulated in 22 years, and provides some exclusive insight into the timeline covering Williams' involvement to help clear up any misunderstanding. When listening to the score, the music is very light on thematic material and features solo guitar performances by C...
2020-07-0131 min
The Baton: A John Williams Musical JourneyEpisode 84 - Saving Private RyanJust about everyone involved in the production of the World War II epic "Saving Private Ryan" was tasked with pushing the envelope in terms of what could be seen and heard onscreen -- except composer John Williams. Director Steven Spielberg and Williams made the wise decision to keep music out of the key battle scenes, and even other key scenes that would have normally used music, to keep us immersed in this tale of a group of soldiers sent to retrieve the last surviving Ryan brother. Host Jeff Commings is joined by Richard Fish for this episode, and Fish t...
2020-06-241h 02
The Baton: A John Williams Musical JourneyEpisode 83 - AmistadWith the beautiful mezzo soprano voice of Pamela Dillard and the stately trumpet playing of Tim Morrison in his arsenal, John Williams delivered a score for "Amistad" that feels like the Maestro wrote two different scores for one film. One part of the score features tribal African percussion rhythms accentuated by Dillard vocalizing the main theme, while the other features an Americana flavor for the theme for President John Quincy Adams. But, in the context of the film, the two sides of the same score work wonderfully. Jeff Commings is joined for the third time on "The Baton" by B...
2020-06-171h 09
The Baton: A John Williams Musical JourneyEpisode 82 - Seven Years in TibetBrad Pitt took on another foreign accent for his 1997 true-life drama "Seven Years in Tibet," telling the story of an Austrian mountain climber captured during World War II who takes refuge in Tibet and befriends a young Dalai Lama. Pitt's accent wasn't the only misfire of the film. Director Jean-Jacques Annaud butchered John Williams' score, taking many of the cues featuring famous cellist Yo-Yo Ma out of the film in favor of pre-existing Tibetan music and some of the more unaffecting portions of Williams' score. What we get is a score that is better appreciated on the soundtrack release, a...
2020-06-1033 min
The Baton: A John Williams Musical JourneyEpisode 81 - The Lost World: Jurassic ParkThe second half of 1997 felt like 1993 all over again, as Steven Spielberg and John Williams were working together on another dinosaur movie and another historical drama. First up was the sequel "The Lost World: Jurassic Park," in which Spielberg advised Williams to take the score in an entirely different direction from the wildly popular original 1993 film. And Williams obliged with his most prevalent use of percussion since 1972's Images. He also goes in a different direction for the main theme, going for uneasiness and fear instead of majesty and wonder. Jeff Commings is joined by co-host Alex Hoffman as t...
2020-06-031h 01
The Baton: A John Williams Musical JourneyEpisode 80 - RosewoodWhen jazz composer and renowned trumpet player Wynton Marsalis was unable to write a score for "Rosewood" that suited director John Singleton, John Williams was brought in to compose music that would fit the mood of the film. And he created one of his most underrated scores for the true story of an all-black town burned to ashes during a riot started by a neighboring all-white town. Williams wrote three gospel songs for the film, his first time tackling songwriting on his own. Host Jeff Commings examines these three tunes, as well as the thematic music that portrayed the di...
2020-05-2753 min
The Baton: A John Williams Musical JourneyEpisode 79 - SleepersJohn Williams collaborated just once with Oscar-winning director Barry Levinson, writing a different score for "Sleepers" than he had composed in just about any of his 77 previous films. The music for the tale of four boys whose prank goes horribly wrong has a very modern and slick feel, relying more on synthesizers than he had recently. Host Jeff Commings talks about his surprise at learning Williams was involved with the film and how the famous Dies Irae melody might have found its way into the score.
2020-05-2049 min
The Baton: A John Williams Musical JourneyEpisode 78 - NixonThe 1995 film "Nixon" was the third and final collaboration between director Oliver Stone and composer John Williams. The film presents a fractured story of Nixon's rise from humble beginnings in California to the presidency. That uneven presentation likely hampered Williams' ability to paint -- musically speaking -- on the canvas Stone presented him. The film features strong themes, from the main theme on Tim Morrison's trumpet to the mournful family theme on strings. Host Jeff Commings doesn't shy away from talking about the obvious connection one of the themes has with "The Imperial March" and how it symbolizes Nixon's s...
2020-05-1346 min
The Baton: A John Williams Musical JourneyEpisode 77 - SabrinaWe've approached a new chapter in John Williams' career: the post-Golden Age era when the films he chose were not always of superior quality but still gave him the chance to write mostly memorable music. Host Jeff Commings is joined for the third time by Gianmaria Caschetto to discuss the breezy score to "Sabrina" that gave Williams the opportunity to reach back into his jazz roots, as well as his romantic comedy score past from the 1960s. He collaborated with lyricists Alan and Marilyn Bergman for two original songs for the film, one of which was nominated for an...
2020-05-0659 min
The Baton: A John Williams Musical JourneyEpisode 76 - Schindler's ListHost Jeff Commings presents his longest solo episode to date, discussing the Oscar-winning score to the 1993 drama "Schindler's List." It's 13 minutes longer than the amount of original music Williams composed for the 192-minute film. In addition to discussing the often-told backstory of Williams' reluctance to accept the job, you'll learn about the three locations in which the score was recorded and why the Boston Symphony Orchestra was picked to play a portion of the score. You'll hear musical excerpts from many of the score's highlights, including the 12-minute cue that sets up the bulk of the film and the...
2020-04-291h 04
The Baton: A John Williams Musical JourneyEpisode 75 - Jurassic ParkHost Jeff Commings counts the score to "Jurassic Park" as the gateway to becoming a John Williams fan, and he's joined by David Kay to talk about the aspects of the score that introduced a generation of people to Williams' music. They talk at length about the rousing fanfare that plays at the introduction to the island where the bulk of the action takes place, as well as the uncharacteristically gentle music that shows the dinosaurs for the first time. There is plenty of terror music for the dangerous raptors that consume half the humans on the island, and t...
2020-04-2255 min
The Baton: A John Williams Musical JourneyEpisode 74 - Home Alone 2It was a natural and easy decision for John Williams to agree to write the score to "Home Alone 2: Lost in New York" since the original film was so successful and garnered much praise for the Maestro's score. But, was his enthusiasm still there when he saw that the sequel was pretty much a rehash of the original in new locations? The answer seems to be a resounding yes. Though there are many musical moments directly lifted from the first film. Williams does his best to put in some new touches, though he doesn't create much a of a n...
2020-04-1535 min
The Baton: A John Williams Musical JourneyEpisode 73 - Far and AwayJohn Williams had really hoped to take a break from film scoring in 1992. But when Ron Howard approached him about writing music for the tale of two Irish settlers in America, the Maestro could not say no. He realized his chance to write Irish music for a film about the Irish had finally arrived. That film is "Far and Away," starring Tom Cruise and Nicole Kidman. Host Jeff Commings is joined by Colin Stokes as the two talk about the strengths of the score that elevate the clunky film and often mask Cruise's obvious overacting in terms of obtaining h...
2020-04-081h 20
The Baton: A John Williams Musical JourneyEpisode 72 - JFKThe story behind the creation of John Williams' score for Oliver Stone's "JFK" is just as compelling as the score itself, an eclectic mix of styles that included a percussion-heavy theme for those believed to be involved in the plot to assassinate John F. Kennedy. That theme was so influential that it was copied by many composers in the years that followed, including Williams. Join host Jeff Commings and co-host Brian Martell as they analyze the six themes written before filming began, and how well music editor Ken Wannberg was able to weave in the music to make it s...
2020-04-011h 05
The Baton: A John Williams Musical JourneyEpisode 71 - HookThe journey to bring "Hook" to the big screen was a long one -- 16 years, to be exact. It started out as a Steven Spielberg project in 1985, and was to be a retelling of the classic story … with Michael Jackson in the lead role! There was also a plan to make the story into a musical, an idea that stayed with Spielberg when he officially started work on it in 1990. John Williams brought on lyricist Leslie Bricusse to create eight songs for the film, and only two survived after the musical idea was scrapped. Williams kept some of the mel...
2020-03-251h 00
The Baton: A John Williams Musical JourneyEpisode 70 - Home AloneJohn Williams planned to take a break from film scoring in the second half of 1990 to work on a concerto, but fate brought a screening of the comedy "Home Alone," and Williams could not resist the film about a boy who protects his house from burglars after his family accidentally takes off for Paris without him. The Maestro came to the project after Bruce Broughton had to step away due to scheduling conflicts, marking the second time in two years that Williams replaced Broughton on a film project. Williams writes two themes for the film that became Christmas-themed songs, o...
2020-03-1843 min
The Baton: A John Williams Musical JourneyEpisode 69 - Presumed Innocent"Presumed Innocent" was a hot commodity in Hollywood, with several studios putting up big bucks for the film rights. Alan J. Pakula and Frank Pierson fashioned a decent film adaptation from a novel seemingly difficult to translate to the big screen, and Harrison Ford does well to shed his Indiana Jones image ... with the help of a new hairdo. For those who have not seen the film, it might be best to watch it before listening to this episode, as host Jeff Commings gives away several major plot points in discussion of John Williams' score. Williams uses the piano...
2020-03-1133 min
The Baton: A John Williams Musical JourneyEpisode 68 - Stanley & IrisJohn Williams had three film scores released in 1990, and each one presented different musical styles that continued to showcase Williams' ability to write music for any genre. He composed the score for "Stanley & Iris," his final collaboration with director Martin Ritt, in early 1989 after finishing work on "Indiana Jones and the Last Crusade." This score is almost the polar opposite of his work for Indiana Jones, presenting an often-innocent melody for Robert DeNiro's Stanley that has some musical connection to Luke's theme in "Star Wars" and a love theme that becomes the main thematic material for the score. Though t...
2020-03-0426 min
The Baton: A John Williams Musical JourneyEpisode 67 - AlwaysSteven Spielberg dipped into the romance genre with "Always," a remake of the 1943 Spencer Tracy film "A Man Named Joe." It seems like Spielberg rushed this film through post-production to get it into theaters before the Patrick Swayze film "Ghost," which featured many similar plot points. The seemingly rushed post-production likely affected John Williams, who wrote a score that is hard to grasp and features very few trademark Williams touches. Host Jeff Commings analyzes the love theme for the two main characters and how it is developed throughout the film from its use on keyboards to a more lush or...
2020-02-2630 min
The Baton: A John Williams Musical JourneyEpisode 65 - Indiana Jones and the Last CrusadeIn what was believed to be the last film in the Indiana Jones saga, John Williams put together a quieter action score than what he wrote for the previous two films. "Indiana Jones and the Last Crusade" featured a new stately theme for the Holy Grail and a new action melody for Indy's heroics. But host Jeff Commings points to the 12-minute prologue featuring a younger Indiana Jones as the best scene in any Indy film, thanks to the multiple sync points that Williams successfully navigated with the orchestra. Learn more about this score, and the film that Williams h...
2020-02-1234 min
The Baton: A John Williams Musical JourneyEpisode 64 - The Accidental TouristAfter director Lawrence Kasdan was unable to agree on a musical style with composer Bruce Broughton, John Williams stepped in to write a delicate score that many John Williams fans often forget is part of his filmography. Using a theme for the main character, a travel guide writer dealing with major grief, that starts out quietly on piano and builds to an incredible finale, co-hosts Jeff Commings and Maurizio Caschetto note that it is one of his best cues for a finale in his storied career. Join the two as they examine the score in detail, including the two...
2020-02-0859 min
The Baton: A John Williams Musical JourneyEpisode 63 - Empire of the SunThe 1987 war film "Empire of the Sun" was Spielberg's attempt to make another "grown-up" film after his success with "The Color Purple." In a sense, Spielberg retained his youthful vision with a teenage Christian Bale taking the lead in the story, but worked to keep the heavy drama intact. His unsteadiness with the direction spilled over into the final product of John Williams' score, as the music is heavily edited and doesn't show up for large portions of the film. Host Jeff Commings details the possible reasons why, and examines the two choral works that frame the film.
2020-02-0841 min
The Baton: A John Williams Musical JourneyEpisode 62 - The Witches of EastwickAfter missing out on the opportunity to have John Williams score "The Color Purple," Jon Peters and Peter Guber made sure to get the Maestro for "The Witches of Eastwick," which the two produced. Host Jeff Commings notes this as his fourth-favorite John Williams score because the fun can be heard in every note. Commings is joined by Gianmaria Caschetto, who returns as co-host to talk about the structure of the theme for the three titular witches. The two also talk about the brilliant music for the tennis game and the decision to leave out Williams' original music for th...
2020-02-051h 00
The Baton: A John Williams Musical JourneyEpisode 61 - SpaceCampThe 1986 film "SpaceCamp" was a product of bad timing. Two months before its scheduled release, the real-life Challenger shuttle exploded, putting the future of the film in jeopardy. The producers decided to dump the film into theaters that summer, and didn't turn a profit. Host Jeff Commings and co-host Brian Thompson differ on their thoughts about the performance of the film had the Challenger explosion not happened, but agree that John Williams' score has bright points to heighten the film's exploits. Williams doesn't write a theme for any of the characters, but does compose a lovely main theme that he...
2020-01-2953 min
The Baton: A John Williams Musical JourneyEpisode 60 - The RiverProbably the least stressful thing for John Williams in 1984 was composing the score to "The River," which reunited him with director Mark Rydell for the fourth and final time. Williams employed the talents of longtime collaborator Tommy Tedesco for the score's wonderful guitar solos, and created an Oscar-nominated score light years from the work he had done on his previous two films. The work kept his mind off the drama that unfolded earlier in the summer when he abruptly resigned as conductor of the Boston Pops Orchestra over reactions from musicians. And after working on "The River," Williams found hi...
2020-01-2243 min
The Baton: A John Williams Musical JourneyEpisode 59 - Indiana Jones and the Temple of DoomSteven Spielberg has essentially disowned his work on "Indiana Jones and the Temple of Doom," but host Jeff Commings and guest co-host Erik Woods are here to convince you of the marvels within the film and the score. From the wonderful renditions of the Raiders March to the heroic melodies for the slave children and Short Round, there's plenty to appreciate about the score. We'll also talk about that cute throwback (or, since this is a prequel, a "throw-forward") to the sword trick fight from "Raiders of the Lost Ark" and how the film influenced a completely new ratings s...
2020-01-151h 09
The Baton: A John Williams Musical JourneyEpisode 58 - Return of the JediThe schedule to compose and record the score for "Return of the Jedi" was pushed up about a month, leaving John Williams with much less time to draft music to close out the original trilogy. The delays on finishing visual effects meant Williams couldn't get the full finished film at once, only about 30 minutes at a time. The rushed process near the end is evident in the music for the final 30 minutes or so, with jarring edits all over the place. Despite that, Williams did some great work on this film, including the creation of the Ewok theme that h...
2020-01-0843 min
The Baton: A John Williams Musical JourneyEpisode 57 - MonsignorThe 1982 film "Monsignor" is the first straight drama containing a John Williams score in eight years. Besides what host Jeff Commings calls "the most depressing love theme John Williams has ever written," the Maestro wrote a bold piece for organ and choir to accompany the film's major climactic scene. The film features just 30 minutes of music, probably due to the limited time Williams had to compose the score outside of his work on "ET," his summer conducting the Boston Pops and the beginning of his work on "Return of the Jedi." The score is notable for being nominated for a...
2020-01-0132 min
The Baton: A John Williams Musical JourneyEpisode 56 - E.T. The Extra-TerrestrialYear Two of "The Baton" is here! And there is no better way to kick off the second half of this journey through John Williams' film career than with a discussion of "E.T. The Extra-Terrestrial." Host Jeff Commings counts this score as his second-favorite, and believes the final 15 minutes of music is the most perfect composition ever created. David Kay joins this episode to break down the multiple themes composed for the film, and the melodic interval they all have in common. And, did you know that John Williams was sued for copyright infringement over the flying theme? W...
2020-01-011h 04
The Baton: A John Williams Musical JourneyEpisode 55 - HeartbeepsWe're closing out the first year of "The Baton" with another of John Williams' lesser-known works. "Heartbeeps" was a massive flop at the box office, but has some charms that were greatly helped by John Williams' music. The Maestro experimented with heavy use of synthesizers and keyboards, and also used a much smaller orchestra compared to his previous two films. The result is a love theme that has some tenderness when played on strings, or on keyboards. There's also a theme for the "villain," a robot named Crimebuster which is the big downfall of the film. Williams does write a...
2019-12-2536 min
The Baton: A John Williams Musical JourneyEpisode 54 - Raiders of the Lost ArkOf all the big decisions Steven Spielberg and George Lucas had to make on their first film collaboration, "Raiders of the Lost Ark," picking John Williams as composer was probably the easiest one. Williams was likely the only crew member who had worked with both Spielberg and Lucas, and gave us another timeless score that perfectly encapuslates the personalist of archaeologist Indiana Jones. Host Jeff Commings analyzes Williams' composition of the main theme, and why it doesn't exactly follow the same pattern as his previous marches. Also part of the discussion are the fantastic scenes involving a kidnapping and an...
2019-12-1841 min
The Baton: A John Williams Musical JourneyEpisode 53 - The Empire Strikes BackHost Jeff Commings counts John Williams' score to "The Empire Strikes Back" as his all-time favorite, as does guest co-host Jim Nova. The two analyze the amazing Imperial March and its chord progression that gives it a sinister tone. They also talk about the amazing love theme and the music written for Jedi Master Yoda. Among their favorite scenes in the film is the chase through the asteroid field, comprising some of Williams' best music. That four minutes alone should have won Williams the Academy Award for Original Score, a sore point that Commings and Nova touch on in th...
2019-12-1158 min
The Baton: A John Williams Musical JourneyEpisode 52 - 1941Was Steven Spielberg's "1941" an elaborate prank to see how far he could go with making movies, or did he really set out to make a genuine comedy? It appears to be the latter, though there are not many laughs to be had in this disjointed film set one week after the Pearl Harbor bombing. Spielberg was not the only culprit for this misaligned film. Host Jeff Commings gives a little history on the collaboration between screenwriters Robert Zemeckis and Bob Gale, and gives a possible reason why Spielberg made this his follow-up to "Close Encounters of the Third Kind." Jo...
2019-12-0431 min
The Baton: A John Williams Musical JourneyEpisode 51 - DraculaJohn Williams' final foray into the horror genre was the 1979 version of "Dracula," with Frank Langella reprising his Broadway role to great effect. The movie goes for romantic overtones instead of outright horror and gore, though there is some of that there. And John Williams was willing to go along for the ride with lush strings and woodwinds from the London Symphony Orchestra taking center stage. Host Jeff Commings talks about this final collaboration between Williams and film producer Walter Mirisch, including the lush main theme that served mainly as a love theme.
2019-11-2740 min
The Baton: A John Williams Musical JourneyEpisode 50 - SupermanThe 50th episode of "The Baton" is here! And what better way to mark the occasion than a discussion of one of the most popular film scores in history.
Possibly the only part of making "Superman" that went without a major hitch was the composition and recording of the iconic score. This was just 18 months after John Williams' score for "Star Wars" showed his mastery of creating music for characters that found its way into the mainstream. Host Jeff Commings is joined by Doug Grieve, a trombone player who talks about the composition of the music for t...
2019-11-201h 00
The Baton: A John Williams Musical JourneyEpisode 49 - Jaws 2John Williams made his first foray into sequel territory with "Jaws 2," writing a score that gave us brief reprises of his iconic shark theme but relied mostly on a different tone throughout. Mostly, his music offers a new emotional connection to the terrible incident happening on Amity Island and helps a film that had as many troubles as its predecessor. Host Jeff Commings talks about the long road to get the film made, including Steven Spielberg's thoughts on returning to direct. Learn more about the major differences between the sequel and the original film, not the least of which is...
2019-11-1329 min
The Baton: A John Williams Musical JourneyEpisode 48 - The FuryJohn Williams had an unusual assignment for his first score of 1978: Write a score for "The Fury" exactly as the late Bernard Herrmann would have composed it. Williams agreed to do so out of honor to his friend, who died about 18 months earlier, and to director Brian De Palma, who had a great relationship with Herrmann on "Obsession." Host Jeff Commings brings on co-host Maurizio Caschetto to break down the Herrmann similarities in the score, as well as the moments that allowed Williams to bring in his personal touch. The two examine the standout scene in which Amy Irving's G...
2019-11-0653 min
The Baton: A John Williams Musical JourneyEpisode 47 - Close Encounters of the Third KindJohn Williams closed out 1977 on top of the pyramid in Hollywood. He was involved in two of the three highest-grossing films in the United States, and wrote scores for them that brought more attention to symphonic film scores. His final film of 1977, "Close Encounters of the Third Kind," required him to participate in pre-production to find a five-note signal that would serve as communication between Earthlings and the aliens. His underscore is full of great themes, including a nod to the "Dies Irae" melody and sweet angelic voices to signify the alien mystery. Host Jeff Commings details the long j...
2019-10-3036 min
The Baton: A John Williams Musical JourneyEpisode 46 - Star WarsThis episode of "The Baton" is all about "Star Wars" and its monumental score by John Williams. Settle in as host Jeff Commings talks with Sir Clive Gillinson, who played cello on the original 1977 soundtrack. He relives some memories of playing the music and why Williams made such an impression on the London Symphony Orchestra that he returned to conduct multiple scores with the group. Also on the show is a discussion of the effectiveness of the main theme by Chris Hatt, who talks about the musical notes that make the score sound familiar and yet a bit unpredictable. C...
2019-10-231h 17
The Baton: A John Williams Musical JourneyEpisode 45 - Black SundayJohn Williams closed out a very busy 1976 with his compositions for the score to the thriller "Black Sunday," which would get a delayed release until spring 1977. Host Jeff Commings is joined by Siddique Hussain, who counts the score as one of his favorites from the Maestro in the time between "Jaws" and "Star Wars." He cites some thematic material and musical styles used in the score that will make stronger appearances in future films, including "Star Wars." Since the film did not fare well at the box office, and critics were divided on the movie, Williams' score got lost i...
2019-10-1655 min
The Baton: A John Williams Musical JourneyEpisode 44 - MidwayJohn Williams got back into the war genre with the film "Midway," writing just 32 minutes of score for a 132-minute film. In this case, most of the movie features battle scenes that producer Walter Mirisch wanted to feel very realistic, which meant the appearance of music was not appropriate -- at least for Mirisch. "Midway" was the first score Williams wrote after his landmark work on "Jaws," and a couple of months after a disastrous production of the "Thomas and the King" musical on the London stage. This score features a march that is a staple at concerts … and sou...
2019-10-0925 min
The Baton: A John Williams Musical JourneyEpisode 43 - The Missouri Breaks"The Missouri Breaks" is arguably the worst film to feature a John Williams score ... at least up to that point in his 17 years as a film composer. Though it starred Oscar-winning actors Marlon Brando and Jack Nicholson, it was a misfire from the start, with Brando going off the rails in terms of acting choices, and Nicholson looking unfit for a Western. John Williams took on the challenge of using music to keep the film on track, but Williams himself takes some eccentric choices. The primary derivation Williams took was using a very small ensemble for his score instead...
2019-10-0235 min
The Baton: A John Williams Musical JourneyEpisode 42 - Family PlotWhat do you do after you've composed the most famous movie score of all time? In the months after working on "Jaws," John Williams had three film scores to tackle for films to be released in 1976. One of them was "Family Plot," Alfred Hitchcock's lighter take on kidnapping, murder and con games. "Murder can be fun," Hitchcock told Williams, which helped the Maestro compose a score heavy on harpsichord to fulfill Hitchcock's mandate. Join host Jeff Commings as he takes you through the backstory involving a meeting with Bernard Herrmann, and the two themes Williams wrote for one person. Pe...
2019-09-2538 min
The Baton: A John Williams Musical JourneyEpisode 41 - JawsHow can two notes make people so fearful of going into the ocean? That's what John Williams did with his iconic score for the 1975 blockbuster "Jaws." Host Jeff Commings is joined by Jeff Owens to break down the elements in the main title music that make this two-note theme a masterclass of composition. They also get chills when discussing other excellent musical moments in the film, such as the first attack on the shark and the shark's attack on the cage. Rent a yellow raft and dive into this score that encompassed everything that made John Williams a good c...
2019-09-1854 min
The Baton: A John Williams Musical JourneyEpisode 40 - The Eiger SanctionJohn Williams and Clint Eastwood worked together only once, for the mountain climbing film "The Eiger Sanction." Host Jeff Commings is joined by Brian Martell, who counts this film score as his favorite pre-"Star Wars" score by Williams. The two chuckle at the outdated clichés and the obvious Bond parodies and ripoffs before lauding George Kennedy's scene-stealing performance. There's also some great music in the film, too, including an inspiring fanfare for the famous Totem Pole rock formation and some perfectly orchestrated chilling music during the icy climb of the title mountain. And if you think you ha...
2019-09-111h 04
The Baton: A John Williams Musical JourneyEpisode 39 - The Towering InfernoJohn Williams closed out his stint in the disaster movie genre with a bold and effective score to "The Towering Inferno." Williams starts us off with urgent opening music, then settles down as the fire begins to spread through the 138-story title building. What also stands out is the lack of music in a 30-minute sequence where music would not have been out of place, but its omission is welcome as a setup to a powerful climax to the film. Host Jeff Commings talks about the accusations of cut-and-paste work by Williams just one month after writing the score t...
2019-09-0445 min
The Baton: A John Williams Musical JourneyEpisode 38 - EarthquakeVery few John Williams fans put "Earthquake" in equal regard as "The Towering Inferno," the other disaster movie that Williams scored in 1974. The "Earthquake" score feels very much like "The Towering Inferno" in sound and feel, with little bombast and an opening title that suggest doom and an epic scale. There isn't much thematic material in the film, but host Jeff Commings found a quasi-motif with the villainous Jody, and looks at the poignant music composed for the end credits. There's no Sensurround in this episode, but strap in for an exciting listen to a fine entry into John Wi...
2019-08-2841 min
The Baton: A John Williams Musical JourneyEpisode 37 - The Sugarland ExpressWe've reached a monumental point in John Williams' film scoring career. It's the film "The Sugarland Express," the first collaboration between the Maestro and Steven Spielberg. Yes, the film should be remembered for the beginning of this partnership, but is it a good movie if you try to view it outside of the historical viewpoint? Host Jeff Commings takes us through the score to this film, which has never been officially available to listen to away from the movie. Learn about the bootleg CDs that have been released, and how a family tragedy kept Williams from enjoying the release o...
2019-08-2131 min
The Baton: A John Williams Musical JourneyEpisode 35 - Cinderella LibertyJoin host Jeff Commings and guest co-host Chris Hatt as they examine the 1973 drama "Cinderella Liberty." Hatt counts this as one of his favorite John Williams scores, simply because the music exquisitely follows ordinary people in the real world. Using the piano as his guide, Hatt offers some insight into the artistry of creating music for a crucial bar scene, as well as the creation of the love theme for the prostitute played by Marsha Mason and the sailor played by James Caan. The film also marked an exciting collaboration between John Williams and lyricist Paul Williams, who wrote t...
2019-08-0753 min
The Baton: A John Williams Musical JourneyEpisode 34 - The Paper ChaseThough "The Paper Chase" was famous mostly for the Academy Award-winning performance of John Houseman, the score by John Williams deserved some recognition at the time. Though not his best effort of 1973, Williams wrote a score that host Jeff Commings is surprised was not nominated for an Original Score Oscar. Williams composed a couple of baroque pieces to serve the "action" scenes in the film, and wrote a tender love theme to underscore the shaky on-again, off-again relationship at the heart of the story. Most John Williams fans regard this as just an average effort by Williams, but will yo...
2019-07-3128 min
The Baton: A John Williams Musical JourneyEpisode 33 - The Man Who Loved Cat Dancing"The Man Who Loved Cat Dancing featured Burt Reynolds, the number one movie star in the world, in a romantic Western action film that had troubles during shooting and in postproduction. Michel Legrand was fired three days into recording his score for the film, and John Williams was brought in as a replacement. Host Jeff Commings walks listeners through the score that returns the Maestro to Aaron Copland territory, and offers the opportunity to compare Williams' main theme music with that of Legrand's. And what does the title mean? You'll have to listen to the episode to find out!
2019-07-2435 min
The Baton: A John Williams Musical JourneyEpisode 32 - The Long GoodbyeJohn Williams and Robert Altman collaborated one more time, for the crime drama "The Long Goodbye." Unlike their work on "Images," Altman did not give Williams as much creative license. Williams was to use only one theme and put it through several different styles in the film. This includes using a sitar during a dance scene, guitars for visits to Mexico and even John Williams sitting at the piano for a lively rendition. He and Johnny Mercer wrote a song for the lyrics, sung mostly by Jack Sheldon, known for The Merv Griffin Show and songs from Schoolhouse Rock. J...
2019-07-1731 min
The Baton: A John Williams Musical JourneyEpisode 31 - Tom SawyerJohn Williams' final foray into movie musicals -- aside from the scrapped idea of making "Hook" into a musical -- was 1973's "Tom Sawyer," which paired him with the successful songwriting pair of Richard and Robert Sherman. The result was a decent effort, as Williams put some strong flourishes into the songs as well as his underscore. Naturally, you'll hear touches of "The Reivers" here, but you'll also note the strong work as an orchestrator that made this musical worth watching and a joy to hear. Host Jeff Commings analyzes some strong underscore moments and how Williams was able to...
2019-07-1035 min
The Baton: A John Williams Musical JourneyEpisode 30 - Pete 'N' TillieJohn Williams wrapped up the year 1972 with the drama "Pete 'N' Tillie," a major departure from the other three scores he wrote for films that year. It was much quieter, focusing on a simple piano theme to serve as a quasi-love theme for the not-so-perfect-together couple of the film's title. It was also much shorter, coming in at less than 15 minutes of music in the finished film. As such, this isn't a long episode filled with a treasure trove of musical moments, but host Jeff Commings is ready to guide you through the creation of this score, and why h...
2019-07-0321 min
The Baton: A John Williams Musical JourneyEpisode 29 - ImagesWe've arrived at the score in John Williams' career that sounds pretty much like nothing he had ever written -- and almost like nothing he will write as his career evolves. The collaboration with Robert Altman for "Images" began in the 1960s, when the two were toiling away in television work and Altman had the idea for the story of a schizophrenic woman. Altman allowed Williams unlimited options for his score: "The more absurd, the better," Altman said. Williams brought on celebrated percussionist Stomu Yamash'ta to play the unique instruments that would create some exciting sounds to go along wi...
2019-06-2654 min
The Baton: A John Williams Musical JourneyEpisode 28 - The Poseidon AdventureJohn Williams reteamed with Irwin Allen for the 1972 action film "The Poseidon Adventure," a risk-taker of a movie that worked out well for everyone involved and officially created the disaster-film genre. Williams does well in creating a strong opening but keeps his orchestra subdued throughout the film to keep the atmosphere of doom and gloom always present, with little sense of hope. Host Jeff Commings is on hand to detail the highlights from the score and how the film set a few precedents. Take a journey through hell -- though we promise you'll enjoy every minute of it!
2019-06-1938 min
The Baton: A John Williams Musical JourneyEpisode 27 - The CowboysJohn Williams returned to the Old West -- and returned to working with director Mark Rydell -- for the 1972 film "The Cowboys." Once again leaning on Aaron Copland's template for Americana-tinged music, Williams employed a fun theme for the 11 boys hired to help John Wayne herd cattle across the plains. He also used a bass harmonica for the film's villain, played viciously by Bruce Dern. The score is counted as a favorite for many John Williams fans, and after learning more about the music with host Jeff Commings, you might be adding it to your top 10 list of best Jo...
2019-06-1241 min
The Baton: A John Williams Musical JourneyEpisode 26 - Fiddler on the RoofThe 1971 film version of "Fiddler on the Roof" was a massive undertaking for John Williams as music supervisor, taking on a beloved Broadway musical that needed to be expanded for the big screen. In addition to putting some fresh touches on the songs, he also was able to compose some original music that further illustrated his talents to the world. The film marked the first time Williams worked on a big moneymaker, and he also reaped a few rewards of his own. Host Jeff Commings details some of the best musical moments in the film and analyzes how Williams k...
2019-06-0536 min
The Baton: A John Williams Musical JourneyEpisode 25 - Jane EyreJohn Williams' final television project in the 1970s teamed him with director Delbert Mann again, this time for "Jane Eyre." Williams composed this score while on a break from working on "Fiddler on the Roof," and the love Williams had (and continues to have) for all things English is on full display in the score. Peter Lloyd, the principal flute player for the London Symphony Orchestra, gets to shine as the score features plenty of flute melodies. Host Jeff Commings is joined by guest co-host Yavar Moradi, who counts "Jane Eyre" as his favorite John Williams score. Relax for a...
2019-05-291h 02
The Baton: A John Williams Musical JourneyEpisode 24 - Story of a WomanThe US-Italy co-production "Story of a Woman" is perceived as the Holy Grail of John Williams movies. Very few people have seen it, and many will do almost anything for a glimpse at this romantic drama made in 1968 but put into American theaters in 1970. Host Jeff Commings welcomes his first guest co-host, Gianmaria Caschetto, and the two talk about the poor quality of the filmmaking while praising John Williams for writing a score that provides some interesting musical moments. Join us for an analysis of this hard-to-find score, which was composed in Williams' downtime during Goodbye Mr. Chips.
2019-05-2240 min
The Baton: A John Williams Musical JourneyEpisode 23 - The ReiversIf not for some divine intervention, John Williams might not have written one note of music for "The Reivers," and he might not have become the celebrated composer he is today. Host Jeff Commings talks about the rejected score that caused director Mark Rydell to hire Williams, and how Williams was able to quickly turn out a score that perfectly encapsulates the feel of 1900s Mississippi.
2019-05-1536 min
The Baton: A John Williams Musical JourneyEpisode 22 - Goodbye, Mr. ChipsBefore John Williams came onboard to work on the music for "Goodbye, Mr. Chips," the film had gone through so many years of turbulence. But Williams' involvement was one of the reasons why the film turned out as well as it did, as the Maestro worked diligently to turn the serviceable Leslie Bricusse songs into lush melodies. The finished film featured very little original music written by Williams, but his work shines mostly in the orchestrations, which are superb and show the evolving genius music writer that will break through in just a few more years. Join host Jeff C...
2019-05-0838 min
The Baton: A John Williams Musical JourneyEpisode 21 - Daddy's Gone A-HuntingThe 1969 film "Daddy's Gone A-Hunting" should have been released as a B-movie, but with "Valley of the Dolls" director Mark Robson helming the film, it was viewed as a surefire hit. It turned out to be anything but that, though Robson tried to boost the quality of film by asking John Williams to write the score while on break from working on "Goodbye, Mr. Chips" in the summer of 1968. Williams experiments with some new instrumentation here, and host Jeff Commings walks you through these moments in a very sparse score.
2019-05-0132 min
The Baton: A John Williams Musical JourneyEpisode 20 - HeidiA few years after he decided to leave a lucrative career writing music for television, John Williams returned to the small screen in 1968 with "Heidi." Though the film is infamous now for its interruption of a major professional football game, it has many great moments for Williams in terms of writing lush melodies to depict the young girl's maturation during her time in the Swiss Alps. From a smart comedic theme to a main theme so lyrical there was a song created from it, Williams' work deservedly did not go unnoticed at the time. Host Jeff Commings brings you s...
2019-04-2426 min
The Baton: A John Williams Musical JourneyEpisode 19 - Valley of the DollsThe 1967 film "Valley of the Dolls" was, on the surface, like any other assignment John Williams had in his early film scoring career. His task was to adapt music from five original songs by Andre and Dory Previn, and put in some original music of his own. The gig turned out to be a major step forward for the Maestro, marking his first screen credit as "John Williams" since his debut as a film composer. Plenty more significance come from his work on this film, and host Jeff Commings discusses them and takes a listen to highlights from the sc...
2019-04-1736 min
The Baton: A John Williams Musical JourneyEpisode 18 - FitzwillyDuring a break in recording the score for Valley of the Dolls (the subject of the next episode), John Williams decided to take on a comedy film starring Dick Van Dyke fresh off his eponymous TV show. "Fitzwilly" featured a stately comic main theme for the main character, a butler who moonlights as a thief to fund his employer's bank account. Williams also composed a decent love theme, made into a song by the soon-to-be-famous team of Alan and Marilyn Bergman. This film also marked the final time Williams would be credited as "Johnny Williams" onscreen, and his final...
2019-04-1024 min
The Baton: A John Williams Musical JourneyEpisode 16 - Not With My Wife You Don'tJohn Williams' final film score of 1966 wasn't his best work of the year, but it does contain some decent moments, including music for a bar fight and a decent love theme. His collaboration with the Oscar-winning lyricist Johnny Mercer yielded three uninspiring songs that aren't very memorable outside the film. Though this isn't the best score Williams wrote in 1966, host Jeff Commings finds some hidden gems inside the music. We'll also take a look back at the five scores from 1966 and which one deserved the most recognition.
2019-03-2731 min
The Baton: A John Williams Musical JourneyEpisode 15 - PenelopeNatalie Wood is the star of "Penelope," but the film puts so much more focus on Edith Head's costumes that it takes away from the flimsy and uneven plot. John Williams manages to compose a very good theme for the film by way of a 60s-era song that begins his longtime collaboration with the English songwriter Leslie Bricusse. Host Jeff Commings talks about the numerous permutations of the Penelope theme in this episode, as well as the history behind the making of the film and how it affected Natalie Wood's film career.
2019-03-2035 min
The Baton: A John Williams Musical JourneyEpisode 14 - The PlainsmanUniversal Pictures had two Westerns released in 1966. After the box office flop "The Rare Breed" came another underperformer, "The Plainsman." John Williams, nearing the end of his contract with Revue Studios, the TV arm of Universal, tackled this uneven film and produced very little score that is memorable after watching the film. Does the fault lie with Williams being overworked in 1966, or does it lie with the filmmakers not creating a film rich with inspiration for its composer? Host Jeff Commings examines some of the musical moments in the film, including some precursors to what Williams will do in t...
2019-03-1328 min
The Baton: A John Williams Musical JourneyEpisode 13 - How to Steal a MillionThe Audrey Hepburn art caper comedy "How to Steal a Million" was a turning point in John Williams' career, at least in the eyes of the composer himself. Host Jeff Commings explains why Williams felt this was a new chapter in his professional career, and how it shaped his life going forward. The film itself was one of the biggest successes in which John Williams was able to take part, and it's in no small thanks to the main theme that's used for many different purposes.
2019-03-0631 min
The Baton: A John Williams Musical JourneyEpisode 12 - The Rare BreedDid you know that John Williams wrote music for Westerns? The first one was the James Stewart vehicle "The Rare Breed," which features a bull named Vindicator and a sort-of British accent from Maureen O'Hara. As far as the score, it features a fine theme from Williams, and some decent moments in the relatively predictable film. This was the first of five films released in 1966 that would feature a John Williams score, and despite his busy schedule, he had the time to write his first - and only - symphony. Host Jeff Commings discusses the strange history of Symphony No...
2019-02-2730 min
The Baton: A John Williams Musical JourneyEpisode 11 - John Goldfarb Please Come HomeTechnically, John Williams' follow-up to "None But the Brave" is a war film, as it deals with the U.S.-Soviet animosities during the Cold War, but it really is nothing more than pure slapstick comedy that stoops low but still strives to aim high. "John Goldfarb Please Come Home" takes the real-life incident of Francis Gary Powers crashing his U2 plane and makes lowbrow comedy out of it. What results is a low point in Shirley MacLaine's movie career, but a great effort by John Williams in his 10th film. The music in this film relies heavily on a...
2019-02-2037 min
The Baton: A John Williams Musical JourneyEpisode 10 - None But the BraveJohn Williams' first war film is "None But the Brave," a misguided directorial debut by Frank Sinatra. Despite the bad acting and preachy plotline, John Williams is able to write a very ambitious score that runs about an hour. It's his longest score to date, and you'll hear some music that will lay the foundation for his work on future war films, including "Saving Private Ryan." There's also music for a shark attack in this film, though it's not as good as the music he would write 10 years later. Enjoy this examination of Williams' writing for brass and how h...
2019-02-1335 min
The Baton: A John Williams Musical JourneyEpisode 9 - The KillersIt's John Williams' birthday, and we're celebrating with a special release of this episode of "The Baton." The film itself is nothing really special, though we get some pretty dramatic acting from future Oscar winner Lee Marvin, as well as John Cassavetes and future President Ronald Reagan. This is probably the first film of decent quality in the John Williams canon, and we're lucky that it made it to the big screen at all after censors axed plans to air it on television. Williams gets back to writing a fully-realized and compelling original score, though his friend Henry Mancini...
2019-02-0820 min
The Baton: A John Williams Musical JourneyEpisode 7 - Diamond HeadThe first of two films that John Williams would score in 1963 took him back to dramatic territory, specifically the lush locales of Hawaii in the Charlton Heston film "Diamond Head." There wasn't much opportunity for Williams to stretch his composing muscles, as he was restrained by the existence of a theme composed by Hugo Winterhalter. The score to "Diamond Head" was full of Winterhalter's theme, with Williams simply filling in the gaps in this sparse score. At least Williams gets a "Music By" credit on the film. Take a listen to this score with host Jeff Commings, and examine...
2019-01-3018 min
The Baton: A John Williams Musical JourneyEpisode 6 - Bachelor FlatThe year 1962 was a big one for John Williams, earning his first Grammy and Emmy nominations for his work on TV shows. But his gaze never left the movie theater, and he contributed a fun and earnest score to the slapstick comedy "Bachelor Flat." It would mark his first film with 20th Century Fox, where he would later become a megastar with "Star Wars." But that was 15 years into the future. At the time, this was Williams working to show that he could write good music for any film, while his colleagues were drifting toward television and thumbing their n...
2019-01-2328 min
The Baton: A John Williams Musical JourneyEpisode 5 - The Secret WaysJohn Williams' fourth film score, for the movie "The Secret Ways," does its very best to turn a very bad film into something watchable. Williams succeeds in many places, coloring in darkly-filmed scenes with violins and flutes and composing a haunting main theme for the piano and cello. Host Jeff Commings tries to explain the plot of the film while breaking down some of the score's finer moments. We'll also discuss the historic firsts John Williams experienced the same year during his work on the TV show "Checkmate."
2019-01-1631 min
The Baton: A John Williams Musical JourneyEpisode 4 - Because They're YoungWe've got another teenage drama for you on this episode: "Because They're Young." It's a bit more dramatic than John Williams' first foray into the teenybopper genre, Daddy-O, with Dick Clark in his first film role and some obvious attempts to mimic the more popular film The Blackboard Jungle. There are also some connections to West Side Story, both intentional and unintentional. Sit back as host Jeff Commings analyzes this bongo-heavy score for a film that might have you reliving your high school days.
2019-01-0917 min
The Baton: A John Williams Musical JourneyEpisode 3 - I Passed For WhiteThe second film in John Williams' filmography is about as different from his first as you could get. The film "I Passed For White" tried very hard to be taken seriously, but is sheer melodrama in the Douglas Sirk method. The film is notable for the first thematic material John Williams has written, a lush melody for the main character. Join host Jeff Commings as he discusses this heavy-handed drama about race and personal identity.
2019-01-0225 min
The Baton: A John Williams Musical JourneyEpisode 2 - Daddy-OLet's start this journey through the career of film composer John Williams with his first-ever score for a feature-length film. The 1959 B-movie "Daddy-O" was not the blockbuster that Williams would have hoped to have to launch his career, but it contains some good music. Host Jeff Commings examines some of the music, including some moments that hint at the greatness to come almost a decade later.
2019-01-0226 min
The Baton: A John Williams Musical JourneyEpisode 1 - PrologueWelcome! This is a podcast unlike any other. We're going on a journey through the 60 years of film music written by the legendary John Williams, considered by just about everyone to be the greatest film composer in history. In this episode, host Jeff Commings begins the journey with a look back at John Williams' life before his first film assignment. Learn about John Williams' time in the Air Force, his studies at Juilliard and learning from the best in his early days in Hollywood.
2019-01-0219 min