Tom Collier - 8 Decades Behind Bars

Midway Scoring Sessions Dec. 2-3, 1975

In late November, 1975, I was introduced to Emil Richards who invited me to attend a John Williams film scoring session at Universal Studios in Studio City. At 8:45am on December 2^nd, I arrived at the Universal scoring stage looking forward to seeing all of the "A-team" percussionists in action. The session was supposed to begin at 9am and a full orchestra had assembled in place ready for action. However, the musicians' contractor, Sandy DeCrescent, announced that the session was delayed for 10 minutes.

A minute or so later, Ms. DeCrescent walked up to me and asked if I was in the Musicians Union, and if I was, would I like to play the first three hour session. She said that Emil Richards and Larry Bunker recommended me to sub for the fifth percussionist who called in sick at the last minute. Of course I said yes to the union question and yes for the chance to play my first film scoring session. It might sound like a made-up Hollywood story, but it's true. That's how I got my break into the L.A. recording scene.

I was given the glockespiel (or orchestra bells) parts for most of the session, and I jumped right in as though I had been doing this work all my life. Actually, I did have extensive experience recording music in the Seattle studios, so I wasn't intimidated by the new environment. I noticed that each sheet of music was literally ink wet from a bank of music copyists off in a corner of the scoring stage. The title of each musical segment represented a scene from the film, with the title of the film at the top: "Midway".

After the three hour session was completed, Shelly Manne, who played nearly all of the military snare drum parts, escorted me to the conductor's podium and introduced me to the soundtrack composer and conductor, John Williams. He said something to the effect that I did a nice job filling in and wanted to know if Ms. DeCrescent had asked if I could play the ramaining three sessions. Since I hadn't been asked about further sessions, I thanked Mr. Williams for the opportunity and prepared to leave.

As I was walking out of the scoring stage, Sandy DeCrescent called out to me and asked if I was available for the afternoon session as well as the two sessions on December 3^rd. Of course, I didn't hesitate to accept the offer. I joined Emil Richards, Larry Bunker, Shelly Manne and Jerry Williams (John Williams' percussionist brother) for lunch at the Universal Studios commisary. They made sure that I was introduced to some of the key orchestra musicians, many of whom I had heard of by way of album notes on recordings by important musical artists like Frank Sinatra, Barbra Streisand, and so on.

Jumping ahead to 2011, 36 years after the soundtrack had been recorded, a limited collector's edition of 3,000 copies of the Midway recording sessions was released by Varése Saeabande Records and offered to everyone connected to the film. By then, John Williams' Midway film music had been recorded by hundreds of professional and amateur bands and orchestras around the world (including the Boston Pops, Royal Scottish National Orchestra, United States Marine Band, etc.).  I still shake my head in amazement as I see my name on the orchestra roster next to the iconic percussionists who set the standards of musical excellence in the Hollywood studios so many years ago (all but me have passed).

Here is the link to hear Midway March from the December recording sessions. I played the orchestra bells (glockenspiel) part; John Williams had the orchsetra play through the piece once for practice and to check for any copying errors (the ink was literally still wet). The second time we played Midway March was the final recording – one take! This recording of Midway March is the original – everything else is a cover version.

p.s. MCA Records issued a 45rpm single in 1976. The record was released primarily in Japan (see photo)
 

December 2, 1991 – Natalie Cole Concert Paramount Theater (Seattle)

 One of the last pop shows I played was one of the most enjoyable. Natalie Cole hired Seattle brass, woodwinds and me on percussion alongside her own rhythm section including Bob Magnuson on bass, Harold Jones on drums, and guitarist John Chiodini. It was a sort of musical homecoming for me having played with Magnuson, Jones, and Chiodini on various gigs/recordings during my L.A. days.

I played primarily vibraphone, congas, and timpani with Cole's band. She put on a fabulous show, and the band – L.A. and Seattle  - sounded great. I've included her set list from that concert. Notice the instruction at the bottom of the page to "place music inside folder packets at show's conclusion"...