J.A.C. Redford (Jonathan Alfred Clawson Redford) is an American composer and orchestrator (born July 14, 1953 in Los Angeles (California)).
He has worked with many ensembles and artists including Joshua Bell, Liona Boyd, Cantus, Debussy Trio.
J.A.C. Redford composed music for forty films and more than 500 episodes of series.
He collaborates with many composers for whom he is in charge of arrangements and orchestrations: Alan Menken, Randy Newman, Rachel Portman, Terence Blanchard, Danny Elfman, Mark Isham, Thomas Newman, Marc Shaiman.
He is the author of Welcome All Wonders: A Composer's Journey, published by Baker Books.
Official site: http://www.jacredford.com
Exactly five years have gone by since James Horner passed away. On a Monday, like today. Five years ago. That's both a lot and so little. The shock was so great; the memory of that sad day is forever seared into our consciousness and will remain so despite the passage of time. Even though we busy ourselves on our various projects, today we wanted to pay tribute to James. We reached out to his friends, his peers, his collaborators and his family and asked them to share their memories and thoughts. We are proud to present a 20-minute video with all
I still remember very well my first and only encounter with Simon Franglen. It was just before the Titanic Live concert in London. Throughout the afternoon during rehearsals I had seen him working alongside James Horner. The depth of their collaboration was evident. On many occasions, he had climbed the railings of the concert hall to access the back of the orchestra to ensure that everything was done properly with the synthesizers. A small detail that shows the perfectionism and professionalism of a musician. Minutes before the concert, while we each waited for friends in front of the Royal Albert hall, I
It was difficult to start listening to The Magnificent Seven, as it confronted us with a whirlwind of feelings: the excitement that goes with the discovery of a new James Horner score, the sadness of our realization that this would be one of the very last times, and the fear of disappointment after having mused for over a year about the quality of this score that is already the stuff of legend because of the circumstances in which it came to be. Because of the tragic accident of June 2015, it is the last soundtrack with themes composed by the
Omni Publishing’s release of James Horner’s full score to Willow is absolutely magnificent. It is over 350 pages full of music transcribed from Horner’s own original handwritten manuscript, as well as detailed analyses of the themes and motives from the film. After the dedication, which simply says “for James,” the book dives right in to the analysis of the themes and motives. Each theme is picked out and isolated from the score and also shows the harmonies present with the melodic notes. The analysis also talks about incomplete nature of several of the themes and goes on to explain why
To coincide with the opening of our collaboration section, we wanted to focus on a profession that is rarely promoted: orchestrator. We had therefore the great pleasure of interviewing Jon Kull, who worked with James Horner on scores including Avatar and The Amazing Spider-Man. The delicacy of his answers sheds light on the creation of orchestrations in film music. How did you become an orchestrator in Hollywood? What is your background? After earning Bachelor's degrees in Composition and Piano Performance at the University of Colorado, I got into the Film Scoring Program at the University of Southern California. Along with being a
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