Search - John [1] Barry, John Barry, English Chamber Orchestra :: John Barry: Eternal Echoes

Barry's Fine "Eternal Echoes"

G M. Stathis | cedar city, utah USA | 10/02/2002

(4 out of 5 stars)

"John Barry's latest CD, "Eternal Echoes," is his second recording this year along with his outstanding score for the film "Enigma." The fact that there have been two Barry recordings in one year is itself a notable event. That they are so enjoyable makes it all the better. "Eternal Echoes" is a collection of brief, light jazz pieces and tone poems that proved just right for a canyon drive on a stormy, early October afternoon as large rain drops run off the windshield and collect in dark puddles under trees already turning red, yellow and orange. Similar to his 1998 recording, "The Beyondness of Things," this is the second, recent effort that is not connected to any film, though you will swear that some passages would be perfect for many recent motion pictures. Instead, Barry has produced a series of very personal musical impressions that cannot help but please (for his trademark, dramatic and menacing action tones pick up the soundtrack for "Enigma"). Yet another collaboration with the English Chamber Orchestra, "Eternal Echoes" is a fine easy listening album that is well recorded and produced and very handsomely packaged by Decca."

Excellent album from one of the very best

P. Greenhill | London, -- England | 08/16/2004

(4 out of 5 stars)

"Firstly, a couple of moans about the packaging. I cannot see the

point of the slip cover. It contains nothing that is not on the

inserts. The CD will not fit into my storage racks with it on and so

it has been taken off and stored in a draw with others.



The slipcase and the inserts also contain at least one piece of

misinformation. According to Decca, Barry wrote 10 Bond scores when

in fact it is 11.A small point but it's as easy to get it right as

wrong.



Some have said, it would be fair to call this Beyondenss 2. The

idea of Barry using moments from his own life as inspiration is

continuued here together with a number of tracks which appear to be

directly inspired by John O'Donohue's book 'Eternal Echoes'.



Of the 11 tracks, two didn't work for me at first but grow on you with repeated listens.

These are 'Get Over It' and 'First Steps'. Somehow these tracks seem to lack the strong melody lines and emotional inspiration of the rest of the album.



The opening track 'Eternal Echoes' reminds me a little of 'Dances

with Wolves', with the synthesised choir and particularly the scene

where the Buffalo carcasses are seen spread over a plain ( can't

remember the name of the track). That for me is good, as IMO Dances

is one of Barry's finest and anything in that style will always play

well with me.



'Returning Home' is a wonderful track with a beautiful sax melody

laid over a glorious string backing. Would have made a good vocal had

appropriate lyrics been added. Was this inspired by Barry returning

home to Oyster Bay or does it come from earlier, perhaps returning to

his parents home in York after being away with JB7?



Crazy Dog, clearly inspired by his dog back at Oyster Bay and seen in

the Omnibus Documentary. A pleasing string melody reminds me a little

of 'Elsa at play' though taken at a slower pace. Wasn't too keen on

this intially but it grows big time!.



'Slow Day' is another wonderful track with Tommy Morgan's marvellous

playing of a strong Barry melody agin supported by a bed of strings

which is punctuated with a goldfingerish brass interlude.



On the Omnibus documentary this was seen being performed with a flute

solo by an attractive female member of the English Chamber Orchestra.

I really liked that version as well and it's a pity that we couldn't

have had 'Slow Day' parts 1 and 2' particularly as the vocal tracks

were abandoned.



'Fred and Cyd' is the track that many people seem to be raving about

and saying that Barry can break out of 'romantic mode'. It is a great

track. A lovely sax melody, which has the sharpeness and clarity of

early tracks such as 'Cutty Sark' is interspersed with another

stunningly good 'Goldfingerish' brass interlude. Is this inspired by

Fred Astaire and Cyd Charise who Barry must often have seen at the

Rialto in York.



Blessed Illusion would appear to be directly inspired by John

O'Donohue's book. Again, Barry presents a strong melody, initially

performed by solo trumpet and then taken up by strings though still

punctuated by brass figures. A more meditative track that gets better

with repeated listening.



'Lullabying', apparently inspired by the time soon after the birth

of Barry's son 'Jon Patrick' in the the mid 90s. I love this track.

The joy and love that Barry feels for his his son is expressed so

clearly and wonderfully by yet another knockout melody performrd by

flute and strings (I think). It's really very moving and possibly my

favourite track on the album. I suspect that one day Jon Patrick will

look back with a lot of pride at this wonderful track that he

inspired his Dad to write. This was used on the Omnibus documentary

for scenes of John and Jon Patrick fishing at Oyster Bay and over the

closing credits.



'Winning', not sure what inspired this one. Was it picking up the

Oscar for Dances after being ill for two years?. Whatever, it's yet

another

..... er.. winner!



Lovely initial string melody dissolves into glorious bridge. (As a

non musician it's difficult using words to describe music so I hope

you bear with me!!.)



'Get Over It', maybe inspired by the loss of his parents or elder

brother, I struggle with this one. It seems to lack the strength of

melody apparent elsewhere on the album. Reminds me of one two of the

later tracks on 'Beyondness'. Flute riff is taken up be strings.

Certainly not unpleasant and it may grow on me.



'First Steps' another track which doesn't seem to have the impact of

many others on this album. Again the melody is apparently not as

strong as several others. Really can't seem to get into this one.

Will stick with it, it may grow!



'Elegy' another track apprently inspired directly by the themes in

John O'Donohue's book.At 5.37, the longest track on the album.Used in

the Omnibus documentary when Barry is seen at work at Oyster Bay.

Very reflective and not one for the Hans Zimmer boys but this track

really works for me. So peaceful and beautiful with Barry yet again

producing a wonderful emotional melody.



It's a real pity that none of the vocals made it to the album.

Peronally I would have finished the album on an upbeat note as he did

with 'Beyondenss', possibly with 'Fred and Cyd' or 'Slow Day'. No

matter the album is here and is a great companion piece

to 'Beyondness'



Nine strong tracks out of eleven isn't a bad average. With 'Eternal

Echoes' and 'Enigma' John Barry shows that he is still at the top of

the tree and very much able to 'do the business'.



The bottom line is 'Eternal Echoes' contains long passages of really

lovely music that I will reguarly listen to.

EE is not Bond music but it deserves to be judged on it's own merits

and not against 60s Bond soundtracks.



Well worth buying!.

"

"open up your heart to Eternal Echoes ~ Barry"

J. Lovins | Missouri-USA | 12/15/2002

(5 out of 5 stars)

"Much of a film's success can be attributed to its fantastic score by John Barry. Brilliantly straddling the line between the demands of the onscreen action and the subtext, the music not only perfectly matches the film, but at times brings it to a new level. This new album by Mr. Barry ~ "Eternal Echoes", takes the listener to places with sounds that exist everywhere without you knowing it. According to legend the writings of a friend John O'Donahue inspired Barry to compose the selections that appear on this one-of-a-kind album. Like Barry's last album "The Beyondness of Things" (460-009-2), time stands still within a realm of subconscious dreamlike-passages into ones life.Our legendary composer has crafted a brilliant movement of cues that innate cinematic illusions, thus capturing our thoughts and memories that seem to linger above with joy and sadness. Barry himself arranged and conducted the English Chamber Orchestra with his signature reflective style. The whole pace of this album is sedate with more of a mellow tone that will creep into your very musical soul. A good example of this is "SLOW DAY", featuring a solo by Tommy Morgan on harmonica , as the strumming of the orchestra blends into a counter-balance. The echoes of heavy brass resounding sends a message of triumphant appeal to all fans of this film music storyteller. Much of Barry's score is variations of themes, sometimes touching on the visuals that only music can express. One such cue is "BLESSED ILLUSION", brass and strings create obsessive musical phrases tending to repeat themselves, very effective. One favorite of mine is "GET OVER IT", the opening chords have so much merit, completely a full bloom of the English Chamber Orchestra under the baton of John Barry is nothing less than spellbinding, the tempo and performance takes your breath away.Believe this is one of the most important albums in Barry's career. Each cue is to be savored like a fine glass of wine, unforgettable compositions are within this rare gem of musicial genius. This is a must have, a keeper for all the fans of movie music and is a "film-score-buffs' delight, gotta love it.Total Time: 43:34 on 11 Tracks ~ Decca 289-466-765-2 ~ (2001)"