By Paula Edelstein
THINK. THINK AGAIN. Gary LeMel uses innovative thinking and decision making skills to
deliver artists, develop projects and solve problems on a day-to-day basis in his job as President of Film Music at Warner Brothers. As a leader and executive that makes things happen, LeMel looks beyond the obvious to find creative solutions for artists contracted by Warner Brothers to score music for the films produced by the studio. By building partnerships with his artists, he assists them in achieving their music business objectives and artistic endeavors while handling their projects, protecting them, licensing their music and God forbid, litigation. He has a standing reservation in the "hero" lounge.
Gary LeMel probably never dreamed that his musical decisions would be as successful as they have been around the world in such films and on such soundtracks as THE BODYGUARD,
BATMAN, SPACE JAM, THE WILD, WILD WEST and the soundtrack for the late Stanley
Kubrick's EYES WIDE SHUT, with megastars Nicole Kidman and Tom Cruise. But luck and his
mega-business talent honed over the years has increased his exposure and decisions regarding film scores in ways that few music industry executives or composers ever get to experience. You can hardly go to the movies without hearing a soundtrack filled with fantastic music in one form or another that LeMel has delivered the artists for. Just one glance at the Billboard 200 and you'll find a top soundtrack album or single that LeMel has greenlighted. In other words, Gary LeMel makes "sound decisions for many artists.
So where does Gary LeMel turn for time out from thinking, problem solving and decision
making? From a hard day's work? Accordingly, the appropriate answer would be his creative
muse. That special voice all creative people have that shepherds them through the most rigorous pace, the most demanding projects and on through opening night jitters. Gary LeMel finds solace in his creativity. The non-hype. The place usually reserved for our deepest thoughts.
When his song muse takes hold of him, together they come up with great themes, acclaimed
records and inspired vocals. On "MOONLIGHTING," his debut CD release for Atlantic Records,
LeMel, producer Bobby Colomby and arranger/conductor Roger Kellaway collected signature
Bobby Darin songs, added an incredible roster of musical talent including drummer Elvin Jones, guitarist Steve Khan, and saxophonist Michael Brecker, among others and delivered a direct hit! LeMel's vocal stylings are portentous of his ability to add another dimension to an ensemble as a separate instrument in itself complimenting the arrangements of Kellaway in an oh so inviting way. He's swinging hard on "Mack The Knife," and then segues into a cool coda with the finesse, phrasings and elegant flair one usually associates with 'Ol Blue Eyes or Tony Bennett. He later trades vocals with the Grammy-winning artist, Paula Cole, on "Call Me Irresponsible," a
swinging personification of the Sammy Cahn and Jimmy van Heusen classic. LeMel later delves into the desires of your heart on "Somewhere," exploring the promise of love's destiny with tenderness and passion.
"MOONLIGHTING" not only sizes up LeMel's personal strengths as a musician, but his fans
can expect to hear the cool sounds of timeless jazz from a singer that touches your heart with exciting escapades along love's avenues. The seeds for the project were planted during the development of the "Bobby Darin Story" and incubated for 12 years. His collaboration with Colomby and Kellaway, and A&R wizard George Nauful, sparked the interest of noted jazz artists Elvin Jones, Randy and Michael Brecker and Paula Cole. "I'd only met Paula once at a show of hers," explains LeMel, "so there was no reason for her to have done this other than that she loves the music! She's really got a wonderful feeling for jazz, and I think that after people hear this, they'll see how multi-faceted a vocalist she is."
"MOONLIGHTING" not only combines the unique melodies and rhythms of LeMel's
influences, but his interpretations, his free improvisational spirit with the energy of New York City's style of jazz, and the intimacy of his classical training are all present. His inspiration for "Mack The Knife," and "Beyond The Sea," shine through to the core of his ensemble of accomplished musicians. "MOONLIGHTING" is this title's inspiration and proves that Gary LeMel makes "sound" decisions, for artists... and for himself.
In an interview for ALL ABOUT JAZZ.COM, we were able to ask Gary LeMel a few questions
about his latest release, song selection, Internet technology and future plans.
AAJ: Hello, and thank you for agreeing to chat with ALL ABOUT JAZZ.COM.
We appreciate your taking time from your demanding schedule.
GL: You're welcome.
AAJ: You move between two worlds like a good game of chess where each
move is based on the previous move as well as influencing the following one. Let's discuss the origin of "MOONLIGHTING" for your fans.
GL: After a number of years of not singing, I decided I needed to do it again
for myself. Three years ago, I recorded an album for the Blue Note Label called "ROMANCING
THE SCREEN." It was well-received and encouraged me to do the album I have always wanted
to do, which became "MOONLIGHTING."
AAJ: Your collaboration with Bobby Colomby and Roger Kellaway raises the
bar on big band projects. When did you take off the "Music Executive hat" and immerse yourself as a singer?
GL: It's almost impossible to completely take off the "Music Executive hat,"
but for one week in New York while we were recording "MOONLIGHTING," I took no phone
calls, no faxes, etc. regarding business , and tried to act like an Artist.
AAJ: "MOONLIGHTING" will play a significant role in bridging the generation
gap. The music celebrated here has lived on as classics. How important is it for you that the original composers be authentically represented?
GL: I have never understood why some singers have felt the need to
re-interpret the melodies and lyrics of the greatest songs ever written. I tried to interpret them as the composer's had envisioned them.
AAJ: "MOONLIGHTING" is so mellow, so inviting and yet changes the pace
with songs that find you really swinging. How did you settle on the musicians that played on your CD?
GL: Roger Kellaway, who did all the arrangements for the album and played
keyboards and Bobby Colomby, who produced the album and myself, chose the musicians. When
we were planning the CD, names of soloists would come up and, coincidentally, all of them
lived in New York, hence, the reason we recorded in New York.
AAJ: The new blood that you used on "MOONLIGHTING" ranges from Elvin
Jones, Randy and Michael Brecker and Steve Khan. They relay the continuity and energy of the Swing Era through their musical interpretations. To what extent did their contributions on the new versions of these works conform to the originals and how far did you let them go in the process of renovation or should I say, reinterpretation?
GL: In my opinion, these are the greatest jazz players in the world and all I
ever said was "just come from your heart."
AAJ: Someone said, "Things do not happen. Things are made to happen." As
president of Warner Brothers Film Music you literally commission the Who's Who of
Composing for films at Warner Brothers. Did your decision to return to the recording studio stem from the desire to make things happen for your "work-in-progress," namely the "Bobby Darin Project?"
GL: I never thought of it that way and even my ego isn't big enough to think
this would move the Bobby Darin Project along, but the more people asked about it and the
more curious they are about Bobby, maybe, comically, it will help.
AAJ: Suddenly 14 years of relative obscurity is given a fresh face. Why Bobby
Darin? Were you a big fan of his?
GL: Yes, I used to see him perform in Vegas and thought he was the best there
was.
AAJ: Your treatment of "Somewhere," is brilliant. None of us, who can recall
the very first version of "Somewhere," will fail to recognize what was once a romantic interlude. Let's discuss the choice of themes that you included on your CD, "MOONLIGHTING."
GL: As you know, "Somewhere" is from one of the greatest Broadway
musicals WEST SIDE STORY. In that same tradition, we chose "Hello Young Lovers" from THE
KING AND I, "After Today," from DR. DOOLITTLE and "Mack The Knife" from the THREE
PENNY OPERA.
AAJ: Did you use any of the song selection techniques that you engage to find
"new" sounds for the films in the development of your sound for "MOONLIGHTING," the CD?
GL: No, I just chose the songs that, lyrically, moved me.
AAJ: How did selecting music for film compare or differ from the selection of
music used on "MOONLIGHTING?"
GL: The only difference is, films are collaborative and my album is dictatorial.
AAJ: What and who do you feel has contributed most to your musical growth?
GL: When I left A&R and moved into Music For Film, I was forced by the
various subject matters to immerse myself in all kinds of music which made me grow, musically.
AAJ: The combination of orchestral music with contemporary sounds and
effects in films definitely helps to tell a story. Songs are often described as "small movies," with lyrics being the primary story telling device. Do you prefer singing or should I say "telling your story" with an orchestra or as a solo artist?
GL: Any singer who says he doesn't prefer strings is lying. Some of the
greatest thrills of my life have been "when the violins entered."
AAJ: Do you still play piano and upright bass?
GL: I still play piano and, occasionally, guitar. The upright bass is an
instrument you can't occasionally play because of the condition that your hands need to be in, you need to play almost every day.
AAJ: How do you view the current state of music for movies with respect to its
evolution on the Internet, i.e., digital downloads and sampling?
GL: It is definitely the future, but 'till there is a system to protect for
copyrights, it will be a huge problem, i.e., nobody will get paid. As far as sampling is concerned, when it is done as a fine artist does a collage, then it is acceptable to me. When whole courses and sometimes complete songs are sampled, it is not acceptable to me.
AAJ: Do you plan to score any films or use any of your music in future films?
GL: It would be unethical for me to suggest my music to any of the producers
or directors that I'm working with. That doesn't mean that my counterparts at another studio isn't free to do it.
AAJ: Warner Brothers has a consistent record with hit soundtracks at peak
positions throughout the years with top soundtrack albums including SPACE JAM, EVITA,
SELENA, BATMAN to top soundtrack singles that include "I Believe I Can Fly," "For You I
Will," "Look Into My Eyes," and "Don't Cry For Me Argentina," to name a few. How hard is it to find that hit score, single or composer year after year?
GL: It gets harder and harder because the more successful it becomes, the
more everyone jumps on the bandwagon (The Hollywood Way). It forces me to be more
creative, therefore, I enjoy the challenge.
AAJ: This year's movies and their composers are burning up the Billboard 200
chart once more with everything from STAR WARS EPISODE 1: The Phantom Menace,
NOTTING HILL, THE MATRIX, and of course THE WILD WILD WEST and EYES WIDE SHUT.
This strong fiscal performance must please you as a businessman and at the same time give you artistic satisfaction, does it not?
GL: Yes, it does.
AAJ: Do you intend to maintain careers as an artist and in the Executive Suite?
If so, do you have an opening for a writer and a Webzine Publisher?!!!
GL: Yes, to the first part and since I constantly am asked if I have a website, we may have to talk.
AAJ: Any live performances that we should know about to support the CD,
"MOONLIGHTING?"
GL: I'm appearing at LUNARIA in Los Angeles, CA for two shows on August
26, 1999.
AAJ: We'll be there. Thank you for taking the time to talk to us. I enjoyed our
chat tremendously and wish you phenomenal success with "MOONLIGHTING" as well as the
Warner Brothers film soundtracks.
Gary LeMel makes the sound decisions that many fans can be thankful for around the world.
Many audiences have tapped into LeMel's expertise without knowing that he has provided the
perfect opportunity for many a composer, musician or musical supervisor. Whether making
decisions about film music for Warner Brothers or deciding which tracks to include on his own recordings, one can be sure that his decisions will be SOUND!
