Having had my first complete listen to "Mister Moses", I have to say "BRAVO" and "Thank You" to Nic Raine and James Fitzpatrick as well as, of course, Luc Van De Ven.

It was a brave choice to record this, a score not much more than thirty minutes from a film practically nobody has heard of or seen.

Since the music is so much more about percussion than melodies—and some of the music is low-volume percussion pieces a la so

Here's the thing: what if it's not really like that?

What if it's not so black-and-white?

What if it's no so static?

What if merit is not so one dimensional?

Last night, June 20th, was the memorial concert for the late John Barry, who passed away earlier this year. A sad occassion? You bet. But also happy, in that it was one of the warmest gatherings of friends I've experienced and a truly remarkable concert to a packed Royal Albert Hall.

What made this concert special? Well, to a great extent, I think what you take away from a concert is what you bring to it. In this occassion, we were all bringing our love and memories. At the

You probably know by now that John Barry, one of the legendary composers who brought much popularity to film music, has passed away.

As you probably also know, Barry was born John Barry Prendergast in York in 1933, son of Jack Xavier, who owned theatres and cinemas in the north of England. This, told Barry, is where he remembered being taken to see Mickey Mouse and falling in love with all things cinema. The story tells romantically, like a real life Cinema Paradi

Of course, as a score, it’s as badly in need of expansion as many of the old Bond albums were. But, back then, it just wasn't going to happen.