Audio: On The Score With Henry Jackman

By • June 6, 2011

ON THE SCORE is sponsored by La-La Land Records


If evolution is the key word of the X-Men film franchise, then the same term might be used to describe the astonishing, ever-escalating musical career of Henry Pryce Jackman. With St. Paul’s Cathedral Choir School, Eton College and Oxford University serving as his answers to Xavier’s School for Gifted Youngsters, the classically trained Jackman instead morphed into becoming an electronica whiz kid. His next rung up the ladder of musically popular DNA was programming for the likes of Mike Oldfield and Coolio, then orchestrating song strings for famed album producer Trevor Horn. It wasn’t long before Jackman felt the inexorable, Magneto-like pull of movie soundtrack kingpin Hans Zimmer, who made sure to bring the promising talent into the composing danger room of Remote Control.

Jackman flourished in the intense creating environment, rising once again from programming on “The Da Vinci Code” to composing additional music for the likes of “The Holiday,” “Pirates of the Caribbean: At World’s End” and “Kung Fu Panda.” Jackman finally let his own voice truly rip with the rambunctious score to 2009’s “Monsters vs. Aliens,” a spectacular of mock symphonic danger that made director Matthew Vaughan think he’d be the ideal man to help take down “Kick Ass.” Jackman’s orchestral chops joined with John Murphy’s power chords to grant hilariously violent, geek-worthy powers to a decided un-super, if very committed kid.

Now after a teaming with his master Hans Zimmer on the classic elegance of “Henri 4” and doing another fun smarty-pants score for “Gulliver’s Travels,” Henry Jackman is taking his second step into a far larger superhero world for Vaughan’s slightly less unhinged comic book follow-up for “X-Men: First Class.” Putting on the musical leotards that Michael Kamen, John Ottman and John Powell had previously impressed in, Jackman brings on a Havoc-like explosion of scoring energy that takes Xavier’s pupils back to the beginning with tremendous, contemporary freshness. Showing off his symphonically thematic chops like never before, Jackman’s score conjures the thrills, dangers and moral responsibility that come with true superhuman abilities. Far from being a “period” film or score, Jackman adds to Vaughan’s furious cinematic force by bringing in such decidedly un-early 60’s music touches like an evil heavy metal guitar and escalating electronic rhythms. His exhilarating action gives the film a thrilling sense of self-importance with god-like choruses and a thundering orchestra turning these starter mutants into the stuff of legend. Indeed, Henry Jackman’s “First Class” is instead a master one on how to truly fly with a superhero score.

Now on a new episode of “On the Score,” Henry Jackman talks about the challenge of living up to the Marvel music legacy with the glorious rebirth of its first cinematic super-team.

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a Buy the Soundtrack: X-MEN: FIRST CLASS
a Buy the Soundtrack: WINNIE THE POOH
a Buy the Soundtrack: GULLVER’S TRAVELS
a Buy the Soundtrack: MONSTERS. vs. ALIENS

Listen to the previous ON THE SCORE show featuring Hans Zimmer

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Comments

By Dilan on June 14th, 2012 at 11:27 am

Thanks for this, Henry is fantastic, much appreciated.

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