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Over at the John Barry FB group we've been discussing who played the flugel on the Louis Armstrong vocal of 'We Have All the Time in the World.
Suggestions are:
Derek Watkins, Louis Armstrong, Herb Alpert, Eddie Blair, John Barry, unknown US session player.
Can anybody help with this one?
Thanks
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Definitely not Satchmo.
Probably not the Brits.
Probably not Alpert, though he had a connection with Phil Ramone. Alpert's guesting would probably have caused legal headaches regarding contracts, crediting, and so on.
So, my guess is just some New York session player.
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Barry didn't even play trumpet on most of his own JB7 records, so I thoroughly doubt JB played on this.
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"There's no documentation of who played this part, so to get the facts, let's ask the fans on Film Score Monthly what they think."
Sorry Peter, I couldn't resist, but to be honest, this is a bit like going down the pub to ask a bunch of builders for the truth about JFK.
To the suggestion that it might be John Barry: Sorry, but that's the least credible theory.
I mean, why would he? He'd never played trumpet on his own film scores before or since. Why would he that one time?
He was busy conducting and supervising the session.
I know some people did that player-conductor thing in public performance, but in a studio recording, it makes no sense. Especially when you consider John Barry wasn't that good a player and better session players would have easily been assembled for the studio orchestra.
It's a fanciful theory, but not a plausible one.
If anyone's thinking it was Derek Watkins or any of the other British trumpeters that Barry worked with in London, that's not plausible either. As Warren Ringham pointed out, you wouldn't fly a player over to America for what is only a routine bit part in a studio recording, and the visa wouldn't have been permitted anyway.
Unless anyone has any actual evidence as to who it is, I'm afraid this thread will just be wild guessing.
Cheers
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"There's no documentation of who played this part, so to get the facts, let's ask the fans on Film Score Monthly what they think."
Sorry Peter, I couldn't resist, but to be honest, this is a bit like going down the pub to ask a bunch of builders for the truth about JFK.
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Hi Steve, my thinking was that the session was 55 years ago. It's possible that people at the session including the flugel player are still around and they or their friends or family might see a post here and have info.
Of course, it's a remote possibility but you never know.
As I've said, in the light of what we know at present I'll go with the unknown NY session player
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If anyone's thinking it was Derek Watkins or any of the other British trumpeters that Barry worked with in London, that's not plausible either. As Warren Ringham pointed out, you wouldn't fly a player over to America for what is only a routine bit part in a studio recording, and the visa wouldn't have been permitted anyway.
Agreed, I can't imagine anyone would fly a player overseas for a four-measure solo (and a technically un-challenging one at that)!
But this did remind me of a unique occasion in 1986, when Georges Deleure flew a group of his favorite LA musicians to Paris to perform his score for the silent film Casanova. That was a very unusual tho!
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Wouldn't AFM documentation exist for an US recording?
A wild idea: "Pretty Little Missy" doesn't sound to me like it has the same personnel as "We Have All The Time In The World." Could it be that a backing track was recorded at CTS and that Armstrong merely provided his vocals at the end of October recording session?
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A wild idea: "Pretty Little Missy" doesn't sound to me like it has the same personnel as "We Have All The Time In The World." Could it be that a backing track was recorded at CTS and that Armstrong merely provided his vocals at the end of October recording session?
I did mention this as a possibility. Barry records the backing track in London. Takes it to New York for the vocal. Most Barry Bond songs were recorded in London. Barry travelled to NY to record Louis Armstrong's vocal because of health reasons
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Jon Burlingame in The Music of James Bond, page 89 of the first hardback edition, writes:
"On Thursday October 23, [Louis Armstrong] appeared at New York's legendary A&R studios, where Barry would conduct an American orchestra for the first time in music for a James Bond film."
In quoting Phil Ramone's recollections of the session, Jon further writes of Armstrong talking warmly with the musicians.
So, I think we can safely say the song's orchestral backing was recorded in New York, not just the vocal.
Cheers
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Could it be the same flugelhorn player that worked on many of Burt Bacharach's instrumental albums ?
Well, given that nobody knows who it was, I guess anything is possible, but whether it's plausible is something that only someone with a better grasp of who's who and how things actually worked in those days could answer.
It's certainly beyond me.
Cheers
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"There's no documentation of who played this part, so to get the facts, let's ask the fans on Film Score Monthly what they think."
Sorry Peter, I couldn't resist, but to be honest, this is a bit like going down the pub to ask a bunch of builders for the truth about JFK.
Actually, your chances to get a good answer here are much better, as the knowledgeable pool and reach here are quite good. So asking here is certainly not the same as going into a pub and asking about JFK (though I think the analogy is amusing and will likely use it in some other context).
If someone actually knows who performed in the music session, it's not so far off that he has a connection to film music, and perhaps knows this board or knows someone who knows this board.
Asking here certainly helped once to clear who played the trumpet on First Blood (https://www.filmscoremonthly.com/board/posts.cfm?threadID=147850&forumID=1&archive=0).
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Jon Burlingame in The Music of James Bond, page 89 of the first hardback edition, writes:
"On Thursday October 23, [Louis Armstrong] appeared at New York's legendary A&R studios, where Barry would conduct an American orchestra for the first time in music for a James Bond film."
In quoting Phil Ramone's recollections of the session, Jon further writes of Armstrong talking warmly with the musicians.
So, I think we can safely say the song's orchestral backing was recorded in New York, not just the vocal.
Cheers
I should have checked Jon's book. However, I don't regret raising the issue here. There are some well informed members of this group.
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However, I don't regret raising the issue here. There are some well informed members of this group.
And nor should you, my friend.
It's just I find fan forums a relatively poor source of factual information due to guesses and "fan facts" which are often just apocrypha that got repeated and so became de facto true.
As Nic rightly points out though, sometimes it pays off.
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