Will Bernard Out & About

Guitarist Will Bernard, a Berkeley, CA native and Brooklyn NY transplant, studied guitar and piano from an early age with Dave Creamer, Art Lande and Julian White, later developing an interest in classical music composition. He received a degree in music from UC Berkeley where he studied with Andrew Imbrie and others. He began playing and recording on an international level as a member of Peter Apfelbaum's Hieroglyphics Ensemble, who made their recorded debut with Don Cherry on “Multikulti” (A&M 1989). Since then, Bernard has participated in a host of boundary stretching groups, ranging from jazz, hip-hop and world music to experimental music, with many stops in between.

When Martin Scorsese decided to remake "Cape Fear", he paid tribute to the original by featuring original stars Gregory Peck, Robert Mitchum, and Martin Balsam in cameos. Scorsese also recognized the contribution of the first film's composer Bernard Herrmann. Thus, Elmer Bernstein, himself a legendary musician (and recent Oscar nominee for "Far from Heaven"), adapted, arranged, and conducted Herrmann's original score for the newer film. This is a marriage of two giants in the business. A score that is as haunting and chilling as the more recognizable works "Psycho" and "Marnie", "Cape Fear" is true Herrmann with its ominous cues and screeching strings. Fans of Herrmann, Bernstein, or Scorsese must have this one!

In collaboration with Litto Enterprises Inc., Music Box Records is very proud to present one of its most ambitious releases yet - a classic Bernard Herrmann score from one of his last efforts and an important milestone in his immense career for Brian De Palma´s classic melodrama Obsession (1976) written by Paul Schrader and starring Geneviève Bujold, Cliff Robertson and John Lithgow. In a career often spent paying tribute to Alfred Hitchcock with the likes of Dressed to Kill, Blow Out and Body Double, Obsession even today stands as De Palma’s ultimate fever dream homage to the director who’d made Bernard Herrmann a household name as the romantic master of musical suspense during an eight film collaboration, no more so than with 1958s Vertigo. Yet Obsession’s reincarnation of that masterpiece showed just how devious De Palma always was in his admiration, cloaking a truly seditious plot twist that would’ve given even Hitchcock pause within sleek, star-filtered visuals. Obsession remains his most fervently romantic, and dare one say innocent attempt to recreate the studio gloss of a time when outright violence and sex were left to the mind’s eye, its rage and sensuality truly made explicit in its music. It’s a powerful, stylistic subtlety that increasingly made Obsession into the filmmaker’s most discerning cult film.

Despite the fact that there are multiple recordings of Shostakovich's deeply moving Symphony No. 14, this rather old but remastered recording is unique in the quality of performance: Bernard Haitink conducts his Concertgebouw Orchestra and elected to use non-Slavic singers Julia Varady and Dietrich Fischer-Dieskau who in turn sing the poems in their original languages rather than the Russian translations used in the original premiere. The effect is staggeringly beautiful and if one must choose a single recording of this symphony, this would be the one that captures the essence of Shostakovich's vision.

This is the movie that gave us the phrase "Klaatu barada nikto!" As befits the film that kicked off the Atomic Age's obsession with flying saucers and giant robots, Bernard Herrmann's score is the last word in 1950s sci-fi. Although many of its elements have become cliches over the years, the original has lost none of its power. Thanks to the many eerie, theremin-drenched passages, it's almost impossible to hear that instrument without thinking about guys in space suits. Other great moments: tinkling space pianos, ominous robot monster chords, and weird, plangent orchestrations. One of Herrmann's most visionary and influential scores.

Following abortive collaborations with David McAlmont and Richard Ashcroft, ex- Suede guitarist Bernard Butler finally heeded his wife's advice and took centre stage for his solo debut. Not surprisingly, wide-eyed positivism is the presiding sentiment here–so much so, that, at times, People Move On seems to be about little more than itself. Save for that melodically slight Top 10 hit "Stay" though, it's hard to raise much objection in the face of such sustained inspiration. Highlights? Well, "You Just Know" will be better known to football fans as the plaintively catchy riff used during the 1998-9 season on Match Of The Day. "Change Of Heart" crashes along some beautiful George Harrison-style playing. Best of all though are "Autograph" and "Woman I Know"–not least for the way their gothic grandeur exposes the limitations of Butler's old band.