Jeff Commings
The Baton: A John Williams Musical Journey
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Jeff Commings
The Baton: A John Williams Musical JourneyClaimedEpisodes
Jeff Commings
The Baton: A John Williams Musical Journey
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The fifth Indiana Jones movie brought 79-year-old Harrison Ford back into the old fedora for another adventure involving a precious artifact that could spell doom if put into the wrong hands. Along for the ride was 91-year-old John Williams, wh
Looking for something to pass the time as you wait for episode 113 of The Baton? Since the next John Williams film score won't be released until summer 2023, there won't be a new episode of The Baton until then. But host Jeff Commings has anoth
Host Jeff Commings is back on The Baton to discuss what might be the final film collaboration between director Steven Spielberg and composer John Williams. The Fabelmans is Spielberg's semiautobiographical film about his family and the beginnin
This is the final episode of "The Baton: A John Williams Musical Journey," and host Jeff Commings has invited one of the premier analysts of John Williams' music to talk about his extensive catalog for the "Star Wars" and Indiana Jones films. F
After a mind-boggling span of 42 years, John Williams closed out his involvement with the "Star Wars" film series with the score for "The Rise of Skywalker." Host Jeff Commings and cohost Paulius Eidukas talk about the missteps in director J.J.
In what might be their final film collaboration, Steven Spielberg and John Williams worked together to give us a score for "The Post" that doesn't go full bore with the orchestra, using instead the emotion of electronic pulses and Americana tou
Rian Johnson took over for J.J. Abrams as director of the second film in the "Star Wars" sequel trilogy, titled "The Last Jedi." Johnson changed the tone and direction of the sequel dramatically, and composer John Williams went along for the ri
Trombone player and music teacher Paul Wright makes his debut appearance on "The Baton" to defend the Steven Spielberg film "The BFG" and discusses with host Jeff Commings the intricate compositional technique John Williams used for this score.
When the news broke that Disney would be producing a new trilogy of "Star Wars" films taking place after the events of "Return of the Jedi," the logical choice was to have John Williams return to continue his expansive space opera composition.
Host Jeff Commings and co-host David Kay discuss the quiet yet personal score for "The Book Thief" in this episode. John Williams lobbied hard to be the composer for this film after reading the book and the script, and Kay believes Williams fou
John Williams only worked on one film score when he turned 80 years old, collaborating once again with Steven Spielberg for "Lincoln." The film marked the 40th year of Spielberg and Williams working together, and it required Spielberg to exerci
John Williams had the opportunity to return to the English style of music he loves so much, drawing on the influences of Ralph Vaughan Williams for his score to Steven Spielberg's film "War Horse." Host Jeff Commings is joined by composer Victo
Though John Williams didn't have a film score released in 2009 or 2010, he was working hard during that time on his next project, an animated film adaptation of the popular Tintin character, called "The Adventures of Tintin." Host Jeff Commings
John Williams' 100th film brought him back into the world of Indiana Jones, this time writing music for our fedora-wearing adventurer's quest to find a mythical skull that has strange powers. Joining host Jeff Commings on this episode to discus
Break out the confetti and party hats! The 100th episode of The Baton is here! And on this episode, host Jeff Commings talks about John Williams' haunting score for Steven Spielberg's "Munich," the story of revenge after the 1972 deaths of 11 I
John Williams wanted to be the composer for the film version of the novel "Memoirs of a Geisha" long before a script was written or a budget finalized. He realized the opportunity to infuse Japanese flavors into a Westernized score, and he enli
Steven Spielberg had long wanted to do an alien invasion movie featuring very bad visitors to Earth, and he finally checked that off his list with "War of the Worlds." In telling the story, John Williams went into full horror mode, employing so
Host Jeff Commings starts this episode of "The Baton" with a not-so-great opinion about John Williams' score to "Revenge of the Sith," the final film in the "Star Wars" prequel trilogy. Can co-host Andrew Ledford change our host's mind about th
Though the movie and score for "The Terminal" might seem like a blip on the radar, neither Steven Spielberg nor John Williams approached this film any less seriously than their major successes. The story marks Tom Hanks' third film with Spielbe
Many John Williams fans sneered at the music for "Harry Potter and the Prisoner of Azkaban," mostly because the Maestro chose to almost completely scrap the musical ideas he created for the first two films in favor of darker themes and tonaliti
John Williams capped off a marathon year of writing film scores with his Oscar-nominated composition for Steven Spielberg's dramedy "Catch Me If You Can." The score gave Williams the opportunity to return to his jazz roots, writing music that r
The demanding work schedule John Williams faced in 2002 meant he had to make a tough choice for his score to "Harry Potter and the Chamber of Secrets." He asked composer/orchestrator William Ross to help out by adapting much of the music from t
John Williams didn't have a lot of time to think about the score for Steven Spielberg's futuristic science fiction thriller "Minority Report," going right into the project almost immediately after finishing work on "Attack of the Clones." Spiel
The 2002 film "Attack of the Clones" not only challenged John Williams with continuing the musical portrait he started with "The Phantom Menace" and closing the gap with the original "Star Wars" trilogy, but also trying to write a compelling sc
The 90th episode of "The Baton" highlights the return to the melodic theme composition styles that made John Williams famous in the 1970s and 1980s. With "Harry Potter and the Sorcerer's Stone," Williams creates no less than seven new themes fo
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