Ozgür Baba’s Turkish folk music is arresting in its simplicity. Habana, aptly named after his home country’s capital, epitomises the exhilarating nature of Cuban jazz. It was his friend the saxophonist Paquito D’Rivera who encouraged him to record music again and, soon enough, Valdés – now in his seventies – began winning global accolades, including two Grammys. After enjoying great success in the 1940s and 1950s, he defected to Sweden during Cuba’s revolution and lived an obscure life for decades. I’m currently working on a couple of different projects for Bleeding Fingers Music but nothing I can share just yet.Cuban jazz pianist and bandleader Bebo Valdés’ story is an amazing one. I acquired a bunch of ethnic instruments that I would either record during the writing process or we would sample them for me to use in the midi world when working on the themes.ĭo you have any other projects coming up that you can share with us? I tried to be location and period-accurate in the instrumentation I used in addition to our “London Tone” that was, of course, always present as well. Because this story stretches all over the world, myself and my assistant did a lot of research on which instruments would be played where at that time.
I think any time you get a chance to work on a project of this caliber there are so many things that stick with you. What were some of the things you learned from Around the World in 80 Days that you’re excited to apply to future endeavors? This is what she performed at the recital. She heard what I was doing and then told her piano teacher she wanted to learn it without telling me. While I was doing that my oldest daughter Ellie (seven years old) had come in the studio as she often does throughout the day. So we decided to spice up this classic that everyone knows … give it the 80 days sound. We had tried to use one of my original themes but we couldn’t get it to work. Hmm, well I did a rendition of the musical piece “Hall Of The Mountain King” for a scene in Episode 5. For instance, dobro, and banjo in the Wild West (Episode 7), and Oud and ethnic percussion like the Darbuka and Deep Daf in Yemen (Episode 3).ĭo you have any fun, behind-the-scenes stories about the making of Around the World in 80 Days? Injecting the right amount of these sounds was key. After we locked that in, we needed to find the balance between the core tone and the location-based sounds that were ever-changing. Working to find the “London Tone” within the score that would follow our main characters around the world. This is a case where a very challenging aspect of the work turned out to be the most fun. What was the most challenging aspect of Around the World in 80 Days and how did you overcome that? I was allowed to be bold and loud which is always fun. I was also very fortunate that the directors and producers wanted the music to have a lot of character, in a sense be one of the characters in the show. The script of this contemporary version is so well written, it has it all: adventure, love, lost love, action and above all perseverance, all combined in a cinematically very powerful and elegant way. That list is long … It’s a very popular tale because the book is so inspiring. What was it about Around the World in 80 Days that made you want to work on it? You have the power to help steer the emotion based on what the director wants to achieve. When you are composing for film or TV, it’s like two forces combined and they feed off of each other.
It can change someone’s mood it can help you when you are down. Christian Lundberg: I think the short answer is l love how music can make you feel, in any style really.
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