I didn’t mean to keep you waiting for more of this story. And it wasn’t meant as a tease.
It was the fall of 2010, and I knew that Sir Paul was to perform in a one-night Broadway gala honoring Frank Loesser, and benefiting The Actors Fund at the Minskoff Theatre. My friend Brad Haak was the music director, and Paul’s “co-chairperson” was to be Jo Loesser. (Jo was the love of Frank’s life, and has been my dear friend since about 2003 when she engaged me to arrange Frank’s last, though incomplete show, Señor Discretion). Jo was well aware of me being the biggest Beatle fan in the world, yet I didn’t have real hopes of being involved with the gala.
Now, I’ve never understood that expression of “feeling your own heart pounding” – until I played back my answering machine that day. It was Brad, saying that he’ll be conducting one arrangement of mine from Señor, but, “…what I really need is for you to do an arrangement for Paul McCartney.” I was aware of my heart pounding, and all I could do was to drag my son to the phone to hear that message. After a few more minutes, my heart returned to normal.
A phone meeting was set up for Paul and me (!) for the next day. Paul sang me his ideas for “On a Slow Boat to China” (a song of Frank’s that Paul owns, I think). Then we had a chat for about 20 minutes… and the next day I worked out the arrangement and emailed a little demo. On the 3rd day, the phone rang at around 8am — “Hello, Larry – It’s Paul.” I picked up the phone, and said “Paul who?”
Well, he had already listened to the demo and loved it, so I wrote the full orchestration in time for a Friday orchestra rehearsal, but Paul wouldn’t be flying to NYC until the following day. A meeting with Paul and me was scheduled for Sunday afternoon at his hotel, and Brad was to join us at some point. This would be 2 days before the concert.
To be continued!
It was news to me that Amazon is also in the TV business. But now I’ve learned that this has been the case for a while.
My surprise was when I was asked to compose a score for a pilot of a new kids’ show, The Jo B and G Raff Show. It was a mad dash to fit it into my lineup in July, and the orchestration of the near-finished animation had to wait until I returned from South America in December. But it all got done, and now we cross our fingers and hope for it to be green-lighted as a series.
This week I have a smaller assignment, composing one episode as a guest composer for PBS’s Peg + Cat series. This episode will be next year’s Hanukkah special.
3 musicals in 5 months made the end of 2013 perhaps the busiest yet. Even before Big Fish had its Broadway opening in October, I had started orchestrating The Landing, which is 3 one-act musicals by John Kander. (The writing team of John Kander and the late Fred Ebb gave us Cabaret, Chicago, The Scottsboro Boys and many other classics). Then, at the moment that I would have had a break from the world of deadlines, I was offered another show to orchestrate, this time from Misi Murillo of Bogotá Columbia. The show, Por Siempre Navidad, was a labor of love, and I treasure my new friendship with Misi, Leo, Nicholas, Ricardo and so many others in Misi’s theatrical family. Everything about this show is sensational. Not an ordinary Xmas show, it’s a full book musical – Misi’s songs are inspired – and she even found an arranger named Nicholas.
I did finally get some time off in December, and when the phone did ring, I was glad it wasn’t another enormous musical. Unfortunately, the request was for a new arrangement of “Auld Lang Syne!” (I never did like that song) – But since it was to be premiered with the New York Philharmonic on New Year’s Eve, I said “yes.”
Now after a short trip to L.A. and San Diego, I am back to work on what I hope are the finishing touches for the launch of TrackSlayer!