Click on the ‘i’ icon in the top right corner of each gallery for personal information from Bill on each of the photos.

2000 And Beyond!

Some of the moments in the decade of 2000.

[img src=]6660One of my favorite pictures of all time!
This is one of my favorite pictures of all time! Many have seen it on the website as one of my CD covers Through The Years. Yes, it is many years before 2000 but thought I'd start the Photo Gallery with it.<br /><br />Frankly, I do not remember how old I was but probably around five or six years of age. I am the kid looking at the dog and as you see, I am holding the tuba for my older brother, Bruce. This is one of his favorite pictures as well. He has used it on his website too. Just Google Bruce Broughton and you will see and read all about him. It is really good stuff!<br /><br />So this picture brings to mind many things regarding me and my great brother. It is amazing to think that less than 15 years (or so) later we would both be in the music industry in Hollywood.<br /><br />
[img src=]1590Dick Nash and Bill
Me with Dick on a session of <em>"All My Concerto's"</em> a salute to Tommy Pederson's many trombone works. Recorded in Los Angeles March 2003 just before I transplanted myself to Australia. Dick was one of the great helps to Bill in his early career days along with Tommy, Lloyd Ulyate, Dick Noel, Hoyt Bohannon and a few more that you will read about on this website.
[img src=]1540A montage of the session for Tommy Pederson.
I was among the first to play all the pieces recorded many years earlier. Bottom right is Dick Nash, Lloyed Ulyate and Jim Boltinghous (producer and trombone player extraordinaire). To the left Billy Tole, Lloyd and Al Kaplan. The next two above left and center Dick Nash singing and soloing. To the right Jim Boltinghouse at the keyboard and in the middle above that Debbie Boltinghouse with Dick and Lloyd. An incredible recording featuring Hollywood's finest trombone players, "All My Concertos" is available through JDM of the Links on this site.
[img src=]1340Fox Studios
Playing at Fox Studios with brother Bruce and a whole bunch of old friends.
[img src=]1410
[img src=]1210One of Bill's Solo's
The normal "Bill" stance and posture while playing a solo (or even alone)...My grandfather Clarke had a lot to do with this stance. A story for another time...or place in the website!
[img src=]940Glenelg Jazz Festival
Bill was commissioned to write an opening piece for the 2003 Glenelg Jazz Festival. It was entitled "One Fine Day", though it was pouring lots of rain the first day of the Festival when the piece was premiered. You can read a description of the composition in Publications Big Band section of the website.
[img src=]680T'bones Unlimited at the Glenelg Jazz Festival
My seven trombone and rhythm group was also one of the guest groups this particular year at the Festival. In fact this was the last year of the Glenelg Jazz Festival...hope my T'bone's didn't have anything to do with that...or my musical compositions and arrangements!
[img src=]700Australian Army Band
Bill soloing with Australia Army Band re-union, Adelaide, South Australia, 2006. Watched by compadres Bobby Johnson and Ivan Cocking. Haven't figured out why I was invited to the re-union, I wasn't even a citizen yet. However, Bobby and Ivan both played in the band years earlier.
[img src=]650Australian Army Band
It's fun playing with other good players! I might be a bit biased but the trombone players have seemed to be the easiest bunch of guys to get along with.
[img src=]640Australian Army Band
I remember that one of the piece's we played was <em>"Holiday for Trombones"</em> written by my mentor and friend David Rose. A piece I used to listen to as a teenager. Time flies when you're having fun!
[img src=]340Yakity-Yak!
Many times I give what I call "informances" instead of performances. I do play solo's and stuff but I share the stories of the great musician's that helped my in my career. Never a loss for words (I'm told by those closest to me)!
[img src=]320Bill conducting Big Band
Bill conducting a concert of his big band music. An evening of jazz, 2002 Adelaide. Bruce's Hancock trio, (John Aue, Bass and Laurie Kennedy, Drums) set the nice foundation of rhythm that a big ban needs to play well. This band played heeps good. A tough three hour rehearsal in the afternoon and then a grand performance. When I made my decision to move to Oz, and specifically Adelaide, I knew I was not going to worry about having some great players around to work with.
[img src=]460Adelaide Symphony Orchestra May 29, 2004
Friends of Bill attending his evening conducting the ASO. An evening of movie music, including a special feature during the program called "Music Moments with my Friends" where Bill told stories about working with Hollywood composers and musicians. A most successful two night event!
[img src=]330T'Bone's Unlimited At the Governor Hindmarsh Hotel
The T'Bone's Unlimited have aquired a nice following of fans. They're performances at the Gov in 2004 and 2005 were well received and attended. It's a fun group to hear and you can read a nice review about the group on the website.
[img src=]230Bob and Bill
This is Bobby Johnson and Bill playing together at The Gov in Adelaide. I love Bobby J. We've had some very good moments of friendship in the past few years. Miss him when he's out of town.<br /><br />Bobby was born in Adelaide and became on of best players (bass trombone too!) in Australia working in Sydney for 25-30 years and performed in all the major TV shows including the Midday Show as well as backing many artists on their Australian tours such as Frank Sinatra, Sammy Davis, Jr., Debbie Reynolds, Liza Minnelli, Johnny Mathis and others.<br /><br />Anwyay, Bobby and I became friends when I first came to Adelaide. He had moved back here to write and arrange and album for a friend. In the meantime we became friends and if it was not for him, my Tbones Unlimited would not be as good, and that is a fact! He plays great jazz and great lead. He is really terrific (other that his bad jokes). This picture was a gift from him so I thought I would share it with the whole world.<br /><br />Bobby also has his own Big Band here in Adelaide and uses it to support, teach and encourage the young jazz musicians coming up. That alone is terrific but the band sounds great too! It is a great link from Uni into the real world of music.<br /><br />Be sure to look at the index finger on each of the trombone players left hand holding the horn. That is, in fact the proper place and angle for that finger to be. Lloyd Ulyate and some other guys I know played like that too! Ha!
[img src=]190Bill Conducting Kensignton and Norwood Brass Band
Bill's association with this group began in August 2002 when he conducted a complete evening of his brass band music. K&N were won Australian National Brass Band Championships earlier in the year. The Bandmaster, Bruce Raymond, is brother to Bill's best mate Howard who was most instrumental (sorry for the pun) in Bill's re-locating to Australia. Bill's association continue's with the band that helped "keep him in shape" by playing Euphonium and trombone for a year or two. Though I don't play with them any more, they've been a great support to my brass band efforts in writing etc.
[img src=]180Mr. Johannes Aue
John Aue also serves on the faculty of Jazz Studies at the Elder School of Music, Adelaide Conservatorium. With all of his responsiblities he also is head of the arranging studies which he is very very good at...teaching arranging and arranging itself.<br /><br />Anyone who knows me knows that I love playing ballads. But I especially love playing ballads with John. Though he plays any style with confidence and class, when he takes a verse and chorus of a ballad, he absolutely plays from the bottom of his heart. His lines never get in the way and they completely enhance what he is doing.<br /><br />John has also been such a great supporter and friend since I have settled DownUnder and I always look more forward to the performance when I know he's going to be there.
[img src=]230Bruce Hancock and Mr. Johannes Aue
Bruce and John, two thirds of the Bruce Hancock Trio. These guys make me very much at home in an idiom I didn't grow up in. I grew up playing theme and variation solos for the most part but these fellows almost make be belief I'm a real jazz artiste.
[img src=]200Laurie Kennedy "Drummer"
Laurie also teaches in Jazz Studies at the Elder School of Music, Adelaide, Conservatorium. He's the other third of the Bruce Hancock Trio. I love the way Laurie plays...he's always smiling, always there, never obtrusive or overbearing with his drumming. Really seems to did what he does. Reminds me of one of those old drummers that used to play on all my Hollywood TV session, Shelley Manne.<br /><br />Actually, Laurie reminds me a lot of Shelley Manne. I truly believe he loves being a "drummer" (like Shelley) and he smiles why he plays (like Shelley) and in my opinion he has great time (!<br /><br />Whenever I see Laurie I am greeted with that disarmingly lovely smile. He always has time for a chat. He, like the rest of the trio that I have discussed, brings a wonderfully positive attitude to every gig and a heart that transmits up through his hands when he hits those pieces of skin.<br /><br />He completes the trio in the best of ways!
[img src=]260Sharon with Bill
Singing is Sharon Raymond along with me in a concert of my Big Band music. I call Sharon "Sis". She's my family. She can belt a song, conduct and teach by example at a very professional level. She has a very popular singing ensemble in Adelaide called <em>"Soul Factor"!</em> Amatuer's all, but you wouldn't know it by hearing them.<br /><br />Sharon is a wonderful vocalist of any style but she's more than that to me. I call her "SIS"! She's wife to my best mate, Howard and they are responsible for my coming to Australia and finding "home"!<br /><br />Sharon is a terrific vocal leader and has a wonderful group called Soul Factor which performs concerts throughout South Australia and Adelaide. I'm usually a part of their performances if they ask. And that's all she and Howard have to do is ask! It's amazing what we do for family!<br /><br />All this aside I would be remiss not to have her in my photo gallery. Now where is that picture of Howard?
[img src=]270The Man at Work!
So here is the man at work in his home office, yours truly, me!<br /><br />This is the latest picture of me and if you saw all of them that have been taken since moving and settling in Australia you would see one particular theme. That is: I am always smiling!<br /><br />Life has its ups and downs, its ins and the outs, its disappointments, tragedies and failures but the successess too. Somehow, if you do not give up, it can work out to a pretty wonderful end result.<br /><br />I remember a really dear friend of mine telling me before I decided to move here that since he had known me, I was always waiting for my ship to come in. He said to me: Unfortunately, Bill, you are at the Bus Station and you need a ride to the ship yard!<br /><br />HA! What a great line!<br /><br />However, he was absolutely right. But the plane flight to Australia was my bus ride to the ship yard. Never have I been more content or happy, busy or blessed! Of course, meeting my incredible wife, Jan, has had a lot to do with that but that is another story entirely. It is a great one though!
[img src=]170The Adjudicator
After the morning march the five bands, Hahndorf, K&N, Enfield, Salisbury (all brass bands) and Unley (concert band) contested for top prize for entertainment in the day. There was one Open A grade band, two Open B grade bands and 2 Open C grade bands. A very good twist was given to make the contest fair. The adjudicator, Bill, was to mark each band in their respective grades then to the final score he was to add 20 points for the C grade, 10 points for the B grade, and the A grade would remain at "scratch". Entertainment was 20 percent of the score, while normal musicianship, program etc was 80 percent of the score. Without going into lots of detail this particular adjudicator always wants to be made to laugh, giggle, cry, whatever and whenever he listens to musical groups critically. Those that make him do that the most will usually always win. The band that won this time, made the adjudicator outburst several times in laughter, though the whole event and all the bands played good programs and tried hard to entertain.
[img src=]300Dr Kevin Cameron with Bill
Kevin was the host Bandmaster and was responsible with his Hahndorf Town Band in organising the whole weekend of events. Kevin also conducts the Unley Concert Band and did so in the competition as well as Compering the competition, along with stand-up comedy relief. Great job, DR. C!<br /><br />In his "real" life Dr. Cameron is Director of Music at Pembroke School in Adelaide. He also finds time to adjudicate, locally and nationally and consult in other musical areas as well as being a new dad to Louisa Andrea and husband to his terrific and long-suffering wife, Claire!
[img src=]290Dr Kevin Cameron, Bruce Raymond and Bill
Bruce Raymond is the Bandmaster of the Kensington and Norwood (K&N), band. They are and Open A Grade brassband with Australian National Championships to their name and are the perennial State Championship of South Australia for 12 years running. They're really excellent and Bruce does a great job...but this adjudicator didn 't think they were going to pull out the win this day. Unley and Hahndorf band's gave them a real run for their money...or is that trophy...or trophy and money! But they did, indeed! A brilliant programme of entertainment and their normal excellent playing.<br /><br />All in all, a fun day of music listening and entertainment. Kudo's again to Kevin Cameron and the Hahndorf Town Band for a stellar event. Bravo!
[img src=]230The Adjudicator gets the Parade too!
Bill, (the parade judge) looks down the long street for a sign of any band!
[img src=]390Watching the band play by.
The bands, Handorf, K&N, Enfield and Salisbury, pass in review, en masse after singularly marching past the parade judge.
[img src=]420Bill with Brisbane Conservatorium Trombones, 2006 Australian National Band Comps
For the Australian National Band Championships Gala Concert, Sunday evening 16 April, we had a nice representation of trombone players from the Queensland Conservatorium Griffith University. The Trombone Ensemble, at this point in time, a Twelvetette, played a piece arranged and conducted by Bill. It was a shortened version of his "Australian Fantasy #1". Being performed in the middle of bands changing we think that it was well programmed, well played and well received. This was good!<br /><br />I think the photo, unfortunately missing two players a the time, shows the relaxed attitude of the group. We had a few rehearsals together and all in all they played their goal to have fun. Way to go guys! Thanks for the work and effort!<br /><br />Thanks to the effort and work of Greg Aitken. He was a great support through getting it organized and programmed. You'll also see in the picture, Jason Redmond, principle trombonist of the Queensland Symphony, friend and supporter as well. I personally, thought he should be in the picture because he still looks as young as he did when the last picture of the two of us was taken about eight years ago (and on the site)!<br /><br />And the players are (from left to right): Jamie Kennedy, Luke Coonan, John Cosic (back), Paul Cowpe-Pendelton (Front), Jason Redman, Imogen Murphy, Greg Aitken, Shane Hannan, Justine Holt, John Carpenter (Kneeling), Liam O'Malley, Matthew Chambers and Bill B.<br /><br />Missing is: Nick Torpy and Adrian, who should at least be mentioned because they were a part of the group.
[img src=]240Bill and Mr Kevin Jarrett, MBE, 2006 Australian National Band Comps
Kevin Jarrett, MBE, is one of the most unassuming, gentle, yet passionate, musically astute people that I have had the pleasure of meeting since transplanting myself DownUnder. He is greatly respected in the Brass Band and music world and, I for one, really appreciate his attitude towards adjudicating and admire his continual love and involvement in this area.<br /><br />He's also been a great supporter of my musical efforts and involvement since being here. He graciously came by our BroughtonMusic business stall to support once again and agreed to a photo while he was there.<br /><br />Though his home is in New Zealand (for my American friends, that makes him a Kiwi he seems to be a favourite when it comes time to have keens ears, positive remarks and a great attitude during Competitions et al. If you meet him, personally, you will know why.
[img src=]250Mason Elliott 2006 Australian Open Brass Champion of Champions
The gentleman with Bill is Mason Elliott, who won the Open Brass Champion of Champions soloist competition after winning the Open Flugel Horn competition. The Flugel Horn test piece was Bill's composition titled Trilogy for Flugel. Mason performed the piece for the Champions of Champions competitions as well.<br /><br />Mason graciously found time in his busy contest schedule, with Dalewool Auckland Band, to find Bill at the BroughtonMusic business stall for a quick picture and a big thanks from the composer.<br /><br />Plans are now under way to have Mason record the composition with the Dalewool Auckland Band once Bill completes the orchestration for Brass Band or whenever it is needed for the project.<br /><br />One of Mason's comments, other than enjoying the piece, is his regret that it will not be the New Zealand Open solo for flugel. It's the Open solo for Tenor Horn but thanks for the compliment, Mason! Good luck anyway!
[img src=]240Bill with Yukata Nishida 2006 Australian National Band Comps
Yukata came by our business stall at the National Band Competitions and introduced himself. He has a radio program in Japan called "The Bandwagon" where he plays excerpts of Concert Bands, Brass Bands, Jazz and more.<br /><br />His website is if you would like to have a look.<br /><br />In talking to the Bandmaster of the Osaka Harmony Brass (Grade A), Atsuhiko Okamoto, I learned that Japan has 40 brass bands but no national competitions. However, they do have a Band Fesitval where the bands come and play for each other and the public. Hence, Osaka's entrance into our National Competition. I thought it was great having them there. They were also at Newcastle in the 2003 Nationals.

Generations in Jazz from 2007-2012

[img src=]6100Generations in Jazz 2007 James and John Morrison with a big fan!
There's been much said about these two guys! And I would have to say most of it has probably been pretty good and more. However, here they are with one of their biggest fans! Heck just look at the size of him. Well in my heart, I'm sure that I would be one of their biggest too! I'm one of the new kids on the block in their life but thanks to some mutual friends we became friends quickly and deeply. They have brought a tremendous amount of joy into my life by knowing them, seeing and hearing them. As you must feel, I could go on for some time about these two but we'll just leave it at the point that I am honoured to know them and thrilled to be a part of anything they do, escpecially Generations In Jazz! Thanks to Steb Fisher Photograpy - for the picture as well. Used by his permission.
[img src=]500Generations in Jazz 2007 Some of the People!
A personal eyeview of two very important people to the GIJ weekend. An exhausted James Morrison and a certainly exhausted Karyn Roberts, though that beautiful smile is a constant through thick and thin. James and John are certainly the driving motivational force, however, Karyn is the one (though she's supported by a tremendous group of people) who picks up all the pieces and puts them together throughout the year so those two motivating forces can do what they do! Encourage thousands of young muso's throughout Australia.
[img src=]630Generations in Jazz Some of the People!
This young man with me is Ross Irwin. I love this guy! Really!. We met when I first moved to Australia in 2003. He came up to my place for some of my tacos and chilli, played his music for me and I was a fan forever! Ross is a mainstay at GIJ and well loved by all. He's way ahead of his years as a composer and he plays pretty good too, just ask James. Ross adjudicates Division 3 and this year with over 40 bands, he was gracious enough to share it with me. He's a goer and going to around a very long time after many of us are gone.
[img src=]380GIF 2009 Reunion Band
This band made up of many that have been a part of the 20 years of competition. I don't know how the two old 'bone players got in the band but it was partner (on my right) is Ed Wilson. He's an Aussie icon as a player and arranger. We're old enough to share stories!!
[img src=]450GIF 2009 Reunion Band
My terrific wife, Jan got a photo just as I played a solo jazz riff. Probably to the surprise of everyone! Everything came out okay! 🙂
[img src=]420Generations in Jazz 2007 Having Fun!
In 2006, Jan and I visited GIF to see James and all that it was about. While we were watching him work, he asked me to rehearse and conduct the Super Band on Sunday. John usually did that, as I found out during our discussion but James re-assured me that he wouldn't mind. We were invited back in 2007 to adjudicate and do the Super Band again. Cool!
[img src=]180GIF 2009 Div 1 Super Band Rehearsal
Waving of the arm is good exercise, to be sure!
[img src=]180GIF 2009 Div 1 Super Band Rehearsal
This year I brought along "Draganet". The kids have their "test" piece down really well but sight-reading and learning a new chart in about 45 minutes is a good challenge for them. They arose greatly to the challenge.
[img src=]120GIF 2008 Div 1 Super Band
2nd year adjudicating and conducting the Div 1 Super Band. Since they play two numbers, the test piece and one more, this year I brought along "Makin' It" from my Hollywood Big Band Charts that you can get on iTunes. Now that's a sloppy advertisement if I every heard one!
[img src=]150GIF 2008 Making Comments
Div 3 Adjudications and the Div 1 Super Band are my fun assignments once again! The Super Band is selected by James and are the best players representing all the bands in Div 1. Some pretty good young players to be sure!
[img src=]160Generations in Jazz 2007 Having Fun!
The pics in this set were taken by Steb Fisher Photography - and were used by permission. Steb is the official photographer on the weekend and as you can see, you may not like the content but the quality is excellent. Again conducting the Div 1 Super Band.
[img src=]130Generations in Jazz 2007 Having Fun!
This year GIF asked me to split the Division 3 adjudication with Ross Irwin and this is announcing the placements of my part in that division. There were over 40 bands in that Division this year. It was fun and encouraging to see all those young people and their music leaders going for the best they had to offer.
[img src=]230Generations in Jazz Some of the People!
Bruce Hancock has been a friend and support since before coming to Australia. He's the head of the Jazz Department at the University of Adelaide, Elder Conservatorium of Music. I love the way he plays and he has a great attitude about all of it. I can't remember a time since I've known him that I would say something about playing somewhere and he always retorts "do you need a piano player, Billy?". Hey, Bruce, you're a gem!

History Flashbacks - 1990's

[img src=]6140The Brothers Broughton
After my move to Atlanta, Georgia in 1988, Bruce used to get me to go back to Los Angeles and play on his movie score sessions. I do not know which one this was but I love this picture.<br /><br />The gentleman whose head you see is Arnie Egilsson and he was always first call for Bruce for good reason. I can guarantee that Arni was grinning as big as we were and laughing just as hard!<br /><br />The moments on sessions for Bruce, especially at this particular time in my life, gave me great joy and satisfaction and it was always wonderful to catch up with so many that meant so much to me through the years.
[img src=]450MAGIC OF THE MOVIES - Great Epics
In 1994 Innersound International, a record company in Atlanta, Georgia, called and ask me to do a series of albums called Magic of the Movies.<br /><br />I started with six albums and then added two more a couple of years later. It was one of the more fun, though most difficult projects, that I ever worked on. Fun for the fact that I got to conduct the orchestra, be the artist etc. and difficult that for those first six albums, we put together so much music in such a short time, I still do not know how we did it all.<br /><br />Thanks to one of my friends, in Los Angeles who had access to many of the movie library's etc. sending me some original scores to re-copy and use for the orchestra that was going to record them. learning curve as well as the program was very slow, unlike the knowledge and the speed that I have today!<br /><br />Here is the play list of this album. You might still be able to find it on the web someplace but most are out of print now. But is was a blast to do for sure!<br /><br />1. Gone With The Wind, Max Steiner 4:09<br />2. Raiders of the Lost Ark: Raiders March, John William arranged/orchestrated by Bill Broughton 2:39<br />3. Chariots of Fire: Race to the End, Vangelis 4:16<br />4. Jaws: Suite, Composed/arranged by John Williams, orchestrated by John Cacavas 8:25<br />5. The Godfather: Medley, Nino Rota and Carmen Cappola arranged/orchestrated by Bill Broughton 6:56<br />6. Out of Africa: The Music of Goodbye, John Barry arranged/orchestrated by Bill Broughton 4:18<br />7. Doctor Zhivago: Somewhere My Love (Lara’s Theme), Maurice Jarre arranged by Merle J. Isaac 3:35<br />8. Lawrence of Arabia: Main Theme, Maurice Jarre arranged/orchestrated by Lee Johnson 3:26<br />9. Exodus: Main Theme, Ernest Gold arranged by Robert Russell Bennett 9:55<br />10.Ben-Hur: Love Theme, Miklos Rosa arranged/orchestrated by Bill Broughton 3:46<br /><br />
[img src=]280MAGIC OF THE MOVIES - Wild Wild Westerns
This was a fun album to do. Very difficult and challenging for the orchestra in many instances.<br /><br />Of course, I had to record Silverado because of Bruce. Well heck I was the Artist/conductor and I could make those choices, but lets face it, this is great stuff besides.<br /><br />I also recorded Tombstone: Final Credits. Also Bruce’s music but this had a nice little story. Bruce was just finishing recording the score for the movie to be released. I don’t really remember the particular dates but it was sometime in December because I was back in Mexico City around the same time recording these albums. I told him I would love to record Tombstone because I knew it was new and it hadn’t even been released in the theatres yet. As I mentioned I don’t really remember the dates but I do know that Bruce sent me the manuscripts and part in the order of play and we re-recorded the final credits about 10 days after Bruce complete the original movie score session. I thought that was really cool!<br /><br />The Cowboys Overture by John Williams, in my opinion is some of his best writing and it was really tough to play. However, I remember that particular piece, after I rehearsed the orchestra was recording in one take. It was an incredible moment for orchestra and conductor. I suppose we could have done it again and again like one is able to do in a movies session, but my responsibility was to record so many pieces a day and have six albums in the perverbial "can" in two weeks. As a general rule I rehearsed the orchestra for 45 minutes and began recording. Most pieces were done within three takes and enough good stuff that could be neatly edited into some good performances.<br /><br />Claudia's Theme composed by Clint Eastwood for his Academy Award winning movie was a bit of a challenge to arrange. I would always want to keep the integrity of the movie in any of my arrangements and the main thrust of the movie was a lovely guitar. So I decided just to keep things as simple as possible, except for the timpany line that was played in the original score as well, except that the bridge part of the melody was perfectly fit for my kind of trombone playing so I took a little license there. But I think this is a very lovely tune worth buying the CD of the original score for.<br /><br />Anyway, here’s the play list for the Wild Wild Westerns.<br />1. Silverado: Suite, Bruce Broughton 4:45<br />2. Dances With Wolves: Main Theme, John Barry 2:09<br />3. How The West Was Won: Suite, Alfred Newman 3:29<br />4. The Magnificent Seven: Suite, Elmer Bernstein arranged by Leo Shuken and Jack Hayes 4:26<br />5. Tombstone: Final Credits, Bruce Broughton 6:51<br />6. City Slickers: Main Theme, Mark Shaiman orchestrated by Mark McKenzie, Mark Watters, Larry Rench and Bruce Fowler 2:58<br />7. Unforgiven: Claudia’s Theme, Clint Eastwood arranged/orchestrated Bill Broughton 4:41<br />8. The Cowboys: Overture, John Williams 9:35<br />9. The Lone Ranger: "William Tell" Overture, Gioachino Rossini 12:05
[img src=]200MAGIC OF THE MOVIES - Sex and Seduction
The title of this CD never really turned me on but all the music within sure did!<br /><br />I love melodies, tunes, lyrical, linear music. And there is nothing more beautiful than the old standards and occasional pop song that that can be expressed with lovely strings, woodwinds, french horns and the rest of the orchestra. It’s always fun to write these kind of arrangements and this album I got to do quite a few.<br /><br />It has always been my opinion that if a tune is written properly, it doesn’t matter what genre it came from. It will fit in any genre or style of arrangement.<br /><br />Dolly Parton’s I Will Always Love You is a very good example. It came from the "country" music scene but it is such a strong melody it can fit in any style. Proof of that when it was released as the them of The Bodyguard and sung by Whitney Houston and proof again for the easy way it lent itself to the orchestra for the arrangement that I wrote for this CD.<br /><br />So, as I mentioned before, I loved doing the music for this particular CD. It was also a chance for me to play a solo on trombone in the way that I love to play. The producer, at the time, did not know that I started my career as a "studio player" but reluctantly let me have a go. He didn’t complain once he heard the finished product as I remember his comments being rather generous.<br /><br />The Time of my Life from Dirty Dancing was originally arranged for one of Lalo Schifrin’s albums entitled Romancing The Film. Lalo called and graciously asked for a couple of new things and I was glad to do them. It was nice that they turned out well for I have been able to use them in concerts and re-record them on my own albums.<br /><br />Well there was lots on this CD and I will list the songs so you can at least, once again, at least see what was on it. You will see that the movie they were used in are listed before the song. Occasionaly, as I mentioned before, you can find these on the web but they are out of print.<br /><br /><br />1. The Bodyguard: I Will Always Love You, composed by Dolly Parton, arranged/orchestrated by Bill Broughton 2:53<br />2. Sleepless In Seattle: When I Fall In Love, composed by Victor Young, arranged by Sally Broughton and orchestrated by Bill Broughton 4:15<br />3. When Harry Met Sally: It Had To Be You, Trombone solo, Bill Broughton; Composed by Isham Jones, arranged/orchestrated by Bill Broughton 4:00<br />4. The Prince of Tides: Places That Belong To You, composed by James Newton Howard, arranged/orchestrated by Lee Johnson 3:38<br />5. Dirty Dancing: (I’ve Had) The Time Of My Life, composed by Frank Previte, Donald Markowitz and John Denicola arranged/orchestrated by Bill Broughton 3:46<br />6. Casablanca: As Time Goes By, composed by Herman Hupfeld arranged/orchestrated by Bill Broughton 3:56<br />7. Summer of 㤲: The Summer Knows, composed by Michel Legrand arranged/orchestrated by Bill Broughton 4:34<br />8. Sleepless In Seattle: Make Someone Happy, composed by Jule Styne arranged/orchestrated by Bill Broughton 3:24<br />9. Laura: Main Theme, composed by David Raksin arranged by Alfred Rickey 4:05<br />10. An Affair To Remember: Our Love Affair composed by Henry Warren arranged/orchestrated by Bill Broughton 3:55<br />11. Sleepless In Seattle: Can’t Help Falling In Love, composed by George Weiss, Hugo Peretti and Luigi Creatore arranged/orchestrated by Eddie Horst 3:41<br />12. Love Is A Many-Splendored Thing: Main Title, composed by Sammy Fain arranged/orchestrated by Craig Ware 4:09<br />13. " 10": Bolero, Maurice Ravel 13:45
[img src=]220MAGIC OF THE MOVIES - War is Hell
The difficulty of listing these CD's is that I've given so many away I only have the covers and not the inside information. In fact one of the interesting things about the covers of these CD's is that the art work was so big that they were actually the back of the CD! Weird but true. So where the information was normally on the inside cover, the information now was...well anyway it was worth trying to explain. Information in terms of who all the composers are and how long they last is not available at present for the front cover is the back and the back is normally the front, and I am thorought confused now.<br /><br />So! As in this particular one, I can list the titles and the movies they represent but not all the other stuff as a rule. For that I give you my humble apology. Nevertheless, I do still have comments about certains pieces on the album.<br /><br />When compiling the music for this CD about War or military things, one of the pieces I would really have loved to use was the them from Stripes composed by Elmer Bernstien. You can see we have The Great Escape and that was also composed by Elmer so I called him to see whether or not he had the music available. He was his usual, amiable self as I explained that we were going to record The Great Escape and also the Magnificent Seven on the Wild Wild Westerns CD and I would love to have the score to Stripes. One, because it was more current and two, because as the Artist/Conductor I loved the piece. He laughed, was thrilled with the idea and then explained to me with an apology that the title was just 60 seconds long and probably would not be that suitable because of length. He was, of course, right but after I thanked him and hung up from the phone conversation, it was several weeks later and too late when I came up with an idea that I should have persued it further to see if he had enough cues that I could have written a longer piece to represent the movie. There's a little regret there for not thinking faster, in the moment.<br /><br />All in all I like this album but the great piece for me was the performance of the strings on Samuel Barber's Adagio For Strings. As I explained on another album, we, me the production company did not have a huge budget. The Orchestra of the Americas was, in actuality, the pops division of the Mexico City Philharmonic. I had a most incredible time with these musicians. The orchestra broke down into three languages: Hispanic, Russian and American. However, the word of tongue had to be Spanish. Thank goodness for Italian the international language of music. No! I don't speak it, but you can be sure that at the top of every musical piece was the Italian word for what I wanted.<br /><br />Anyway, back to the big budget issue. We really had about 40 minutes to rehearse each item recorded and about 20 minutes to record each item.<br /><br />Adagio For Strings! Ha! It might as have well been Mount Everest!<br /><br />However, as the story truly goes, we had a good day of recording and the orchestra was ahead of schedule so I found myself with a good 11/2 hours for rehearsal. At about this time the sound engineer lets me know that he read some place that Leonard Bernstein rehearsed this piece for three days before he recorded it! That's good news to be sure!<br /><br />I took my 11/2 hours. The strings were comprised mostly by the Hispanic's and the Russian's. We began to record and they began to play...I mean really play.<br /><br />There are certain times in a musician's life, a composer's life, a conductor's life (and this is my own opinion) that the MUSE takes over, overcomes, over powers the moment and this was one of those times.<br /><br />After the 2nd take I looked at these wonderful people playing so determinedly. I mean I looked at each one, made eye contact, put my hand over my heart, raised my first finger for one more time, patted my chest (over my heart) a few times, took a deep breath, paused and gave a down beat.<br /><br />Something happened during that 3rd take. At the end there was dead silence. I looked around to these wonderful string players. I saw tears in their eyes and there were definitely some in mine. The "phone" (intercom) rang. I picked it up and heard the producer say "What the ...... happened!" I just simply said "music".<br /><br />I know that this is not the greatest recording of Adagio for Strings but it is a good one. And many are those, who have heard the album, that have been in touch with me to tell me about it. It was one of those wonderful moments as a conductor, as a musician that every soul had a singular purpose and goal and it all came together in about 2 1/2 hours one day, in a place of many languages and they all spoke the same one! Ahh! Music!<br /><br />Here's the play list:<br /><br /><br />1. Apocalypse Now: The Ride of the Valkyries, Richard Wagner<br />2. The Bridge on the River Kwai: Colonel Bogey March Kenneth J. Alford<br />3. Platoon: Adagio for Strings Samuel Barber<br />4. The Hunt For Red October: Hymn to Red October Basil Paladoris<br />5. Good Morning Vietnam: It"s a Wonderful World Arranged/orchestrated Lee Johnson<br />6. Victory at Sea: Song of the High Seas Richard Rogers<br />7. Victory at Sea: Guadalcanal March Richard Rogers<br />8. Patton: The Generals Jerry Goldsmith<br />9. The Great Escape: March Elmer Bernstein<br />10. Gettysburg: Main Theme<br />11. A Few Good Men: Finale Marc Shaiman<br /><br />In the past year or so we have lost composer's such as Jerry Goldsmith (in a compositional class all to himself) and Elmer Bernstein, who for many years became and lived the standard of musicianship that most of us should strive for. It's a worthy effort to study those who have gone before, for that's how they learned as well.<br /><br />Without trying to stand on the proverbial "soap box" one of the greatest needs I see in the industry today, and hear in the industry today, is to know where it came from and study those who have gone before. It's not a problem to have your own style of "whatever", but it is my humble opion, that good study in the traditions that have gone before can only enhance, and to a great degree, what you want to accomplish.
[img src=]160MAGIC OF THE MOVIES - The Final Frontier
[img src=]60MAGIC OF THE MOVIES - Music for Murder
[img src=]120MAGIC OF THE MOVIES - Fine Romance
[img src=]150MAGIC OF THE MOVIES - Heartstrings
[img src=]170The Magical Music Mouse
[img src=]160Star Wars

History Flashbacks - 1996 Atlanta Paralympic Games

Lost but now found pictures of the orchestra rehearsal, dress rehearsal and live performance of the 1996 Atlanta Paralympic Games. Click the links for commentary by Bill about the pictures and this special event.

[img src=]6170Showtime at the 1996 Atlanta Paralympic Games
You can see by the order of the pictures the Olympic Stadium filling up with people. If memory serves me correctly, there were over 75,000 people there that night. The Opening Ceremonies cast had over 17,000 people, mostly volunteers to be in the show, who gave countless hours of commitments and rehearsals to give a great show.
[img src=]3401st Orchestra Rehearsals Paralympics
Atlanta, Georgia, 1996 15 August and the orchestra for the Paralympic Games meets for the first time to have a read through of the music. Most of it was originally written for the event by Bill who was the Musical Director for the Opening and Closing Ceremonies.
[img src=]2401st Orchestra Rehearsals Paralympics
60 musicians, many from the Atlanta Symphony Orchestra and the rest from other professionals in the community are hired to play for the Opening Ceremonies of the 1996 Atlanta Paralympic Games. It was an exciting day as it was the first time the producer of the Opening Ceremonies Ken Chapman was to hear the music.
[img src=]2001st Orchestra Rehearsals Paralympics
If there were any changes that needed to be made they needed to be done then and there because the next afternoon was the dress rehearsal at the Olympic Stadium followed that evening with the Opening Ceremonies! This international event had only two rehearsals and then a performance by some very wonderful and professional musicians. It was a night to remember!
[img src=]210Dress Rehearsal at Olympic Stadium
Atlanta, Georgia, USA, in the middle of summer the humidity can be 95-100%! It is like being in a shower all day long!During the Olympic Games which preceded this event, it was reported that during the orhcestra rehearsals some of the string instruments started to breakup because the glue became unstable due to the heat and humidity. We, of course, did not have the budget for music the Olympics had. In fact the total budget for the complete Paralympics Opening and Closing Ceremony was about $5M US compared to $50M US for the Olympic Games. All this to say that it worked in our favor to be outside for just one afternoon.<br /><br />
[img src=]130Dress Rehearsal at Olympic Stadium
It was a blisteringly hot day to be sure. I had three able bodied assistants in Marina, David and Mark and they were instructed to keep the water and drinks coming at all times to any orchestra member that needed them. I also instructed the orchestra that if anyone started feeling faint or otherwise, they could leave the stage and be sure to find some shade to protect themselves from the sun. Though it was a Union job, the time limitations for the dress rehearsal and the break before the live performance made it near impossilbe to find proper breaks for the musicians as a total group, so I just told them that if they needed to use the facilities or had any other good reason, they should take a break. This orchestra was a fine group of people and I know that they knew we were genuinely concerned for their well being and that they also new that I trusted their professionalism in performing at the highest music level for the event. One of the principles of work for me is that trust begets trust. And it has been a rare person indeed that ever took advantage of that kind of attitude.
[img src=]170Showtime at the 1996 Atlanta Paralympic Games
We had 60 in the orhcestra, but also had a 5,000 voice gospel choir lead by Kirk Franklin. There was a 2,500 voice kids choir that I wrote a special number for, plus The Three Divas, Aretha Franklin, Lisa Minnelli and Carly Simon as well as Teddy Pendagrass to sing the National Anthem and Christopher Reeve was the Master of Ceremonies.
[img src=]120Showtime at the 1996 Atlanta Paralympic Games
The event was broadcast around the world. In a personal note, it was my birthday 16 August and my father saw me conducting in Atlanta, Georgia while he was watching the event in Adelaide, Australia. Of course, If I had known that, I would have waved to him! The Opening Ceremonies was a terrific success and a very long evening, but I do not believe anyone left the event feeling they had missed anything. It was well worth the months of hard work, production meetings, composing etc.
[img src=]210
[img src=]180
[img src=]150

History Flashbacks 1983 - Memories of Bullwinkle the Moose

[img src=]6520The Cast of the Production
There were two stages to this project. What I call the "A" stage that was part of the 40 production numbers and then the "B" stage which completely changed from variety music production to voice-over production introducing old recordings. Bill Scott was getting a little tired at the time so myself and a friend Laura Lee Mannes wrote the next bit of scripts. 72 in all with Bill having the right of first refusal and change to make sure that "Bullwinkle" remained real in his humour etc. It was a fun time, though, and June and Bill continued to be their inimitable, ineffable selfs and Bill suggested to me that we use Joel Alaskey to come in and do the voice of the "announcer" and "Boris". Bill had heard him at one time and thought he would be a good fit. Joel was a great addition and fit in well. I think he even went on and got his own TV Show.<br />Anyway, I am glad that we had this picture taken. It brings back a lot of great memories of those voice-over sessions in my little studio in Glendale, California, USA. Once again these particular recordings have been used by the client that paid for them but have never been released publicly for all to have. A sad story but no regrets. I'm the better, in many ways, for having done all of this. Bill Scott and June Foray both had a part of giving me a time of real joy and laughter! What an education!
[img src=]830With Bill Scott and June Foray
Reviewing scripts during recording session of "Bullwinkle Show". Bill Scott, the voices of Bullwinkle, Dudley Do-Right, George of the Jungle and many more along with June Foray the voices of Rocky the Flying Squirrel, Natasha, Nell, Smurfs characters and Disney characters and me your friendly neighborhood producer, director and composer. Needless to say this was one heck of a terrific fun time for yours truly. Every tuesday in my office, Bill Scott, would show up with new scripts and proceed to begin to read...NO!...proceed in character to act the scripts, changing voices as fast as he could, never missing a beat in his presentation. Many times we would both be out of our seats on the floor in laughter, hurting from the wonderful pain of sore tummy lasting much longer after Mr. Scott left my office. Ouch! It was great! He was taken from us a little too soon at the age of 63. I guess there wasn't enough laughter up in Heaven.
[img src=]700June Foray with Bill
June is and was the consumate professional. She was always polite, worked hard, and had a great sense of humour with great timing. She and Bill Scott had worked together for so many years they just knew what the other was going to do! It was incredible being able to watch and hear their great gifts at work. Personally, one of my few regrets is not keeping all the "out-takes" and mistakes in the final editing of the show. They were hilarious and priceless. They didn't happen often but when they did it was, in itself, magic. June and I became friends after the production was over and Bill was gone. She's a real trooper and still very involved in the Hollywood scene and is also a part of the Academy Awards Board of Directors. There are people who can "do" Bullwinkle and Dudley voices. Heck even I have a recording doing Bullwinkle that Bill liked and wouldn't change. BUT there will never be anyone, I really do believe, that will ever be able to do "Rocky's" voice. It is totally lost in June's voice! She's wonderful!
[img src=]530What a Gift!
After the first year of producing this project, Bill Scott came into my office one day and brought me a "simple" gift of thanks for being "a good producer"! I have other notes from Bill and June that I have kept that are very dear to me years after the project but this one still hangs in my home as a wonderful momento. It's a cell with all the characters and if you can't read the inscription it says: "To Bill - Thanks a bunch! From the whole darned Bullwinkle Gang - and Bill Scott!" Thank you Mr. Scott for the wonderul things I learned from you and for laughter through a very difficult time in my life!
[img src=]520Bill Conducting Again
This particular session was at the beginning of the "Bullwinkle Show" production for "Bullwinkle's Inc." It was the best part of the three to four years I spent on the project as executive producer, composer etc. We produced over 40 major scripts and musical variety productions. Bill Scott wrote the scripts and some of the lyrics as I wrote most of the rest of the lyrics and music. We did this within a three month period. It was hectic but it was worth it. Unfortunately, the down side to all of this is that those particular pieces and productions still sit on a shelf today never to have been released. It was a heartbreak but that's part of the entertainment industry's ups and downs.
[img src=]460A Final Gift!
It was at the end of the first year of producing Bullwinkle that I decided to release the album. I was talking to Bill Scott about it and told him my idea about Bullwinkle's Greatest Hits and Misses and how neat it would be to have a special picture of Bullwinkle on the cover of the album.<br /><br />The next day the wonderful Mr. "Bullwinkle" Scott called by my office with this beautiful cel of Bullwinkle holding the hat and cane. He wondered if this was something like I was looking for. Ha! My reaction must have said it all then Bill very sweetly smiled, handed it to me and said "It's yours to keep!".<br /><br />It is an authentic cel with a log number and certified by the International Animated Film Society (ASIFA Hollywood).<br /><br />Those who know me, know that I am not into the collection of things, valueable objects, cars, homes etc. But I will say that this particular gift is one that when I look at it, brings back a flood of the most wonderful memories of that time in my life. It was, to me, a most generous and loving gift from someone I learned to love, respect and admire. Working with him was just an added bonus!<br /><br />Of course, you do see it on this site as the cover picture in the article The Album That Never Was!
[img src=]390The Album that Never Was!
This is the album that never was! Bullwinkles Greatest Hits and Misses. It was to be the beginning of a long line of albums to follow. Unfortunately, all the music, recordings et al, still sits on a shelf in my office.<br /><br />Bill Scott and June Foray, the voice-over stars both thought this was some of the best stuff they ever had the pleasure of doing. Bill, for sure, told me so several times and June made me promise that I would never give up in trying to get it released.<br /><br />As the story goes, Bill S. even went to Jay Ward and begged him to issue the license for selling the merchandise, but the plane fact of the matter was that Mr. Ward did not like the product at all.<br /><br />Bill died unexpectedly at the age of 63 just after we completed the production of all the scripts (about 120 of those) and the original music as well as the needle-drop stuff that we used as well.<br /><br />Jay Ward died a few years later and about 12 years after I completed the project I contacted his daughter, Tiffany Ward, through Universal Studios to see whether or not she would be interested. My promise to June was not forgotten and I kept, through the years, trying to find ways to have this music released.<br /><br />Ms. Ward suggested I come see her after sending the tapes to her. At last! Unfortunately, long story short, she said she didn't like it either and didn't think it would sell. At the time June and I had just met two producers doing a documentary on Jay Ward, Bullwinkle the whole team. These producers found in there research a market of over 5 million people that they felt would be anxious to buy any Bullwinkle stuff, even if it was not from the original show.<br /><br />This music was all original and Bill Scott had written all the lyrics and I had written all the music and produced the whole package.<br /><br />So here it sits! Original scores, parts, tapes...all of it as a wonderful memory to a most remarkable time in my life. All that I can say, is that if I had it to do all over again? I would. Without hesitation. It was a great production, I got to work with some of the most talented voice-over stars in the business, I learned to write comedy, I learned to direct, produce and made friends and aquired memories that are worth remembering every time I even look at this part of my website.<br /><br />For those who have read this far I shall finish this with the list of songs that are on Bullwinkles Greates Hits and Misses the Album that never was!<br /><br />1. Bullwinkle Theme: a new theme written just for this production not the one written by Fred Steiner.<br /><br />2. Bullwinkles Butyful Ballad: Bullwinkle singing his own personal version a la I Did It My Way<br /><br />3. Statehood for Mossylvania: It's time America started playing with a full deck. Moosylvania for the 52nd State.<br /><br />4. The Big and Small of It: Rocky and Bullwinkle do their own version of tomaaytoe, tomaahtoe!<br /><br />5. Whistlers Brother: Though his pucker was all out of puck Bullwinkle gets it back long enought to trade fours with the sax player!<br /><br />6. Give Me Some Men: Dudley Do-Right sings his own version a la Stout-hearted Men!<br /><br />7. Wossamatta U: The Wossamatta U Fight Song sung before every game; Wossamattu U, Wossamatta U, Notta thing, Notta thing, Wossamattu U. Oh those memorable words!<br /><br />8. Mantle of Fame: Bullwinkle sings his heart out in his inimitable fashion as Rocky tries to bring him a but down to a more realistic size.<br /><br />9. Boris Dances: Yessir! Boris Dances and you can hear him do so, from tap, to soft shoe. What? Soft shoe! Soft shoe! Gazoontite! Ha!<br /><br />10. Dudley's Vacation: Dudley does his own song a la South of the Boarder but for Dudley, his south is Hibbing, Minnesota and Fargo North Dakota!<br /><br />11. Be Happy: A nice finish to a happy album. Be happy no one likes anyone crabby. The whole cast sings come on, be happy!<br /><br />Well that's the list of songs and I hope you enjoy at least the title. There were only two people who didn't like this album but they happened to own the licensing. Truly, everyone else who ever heard this album, and there were lots of age groups, loved it but you can at least enjoy the titles.
[img src=]660A Fun Read Through!
Bill Scott, June Foray and Joel Alesky reading through and discussing new scripts with Bill producer looking on and listening in.

History Flashbacks - 1980's

Pictures of Bill and some of the great musician's he got to work with and know.

[img src=]6110Bones and Saxes Bullwinkle session 1983
The saxes from left to right are John E. Lowe, Billy Calkins and Pete Christlieb. John was probably the greatest doubler (doubler means playing more than one instrument on a session) of low woodwinds in the business. Mort Steven used to use him in Contrabass Saxaphone on his Hawaii 5-0 episodes. John was a gentleman who always told you the truth. I remember him very fondly. Bill Calkins was a great lead Alto player and doubler. He played lead in my rehearsal big band. He alway smiled and had encouraging words. And Pete Christlieb is one of those great jazz players you want sitting their in case you have written something that needs a great jazz player. The trombone players are in a better picture later on. So I will mention them then.
[img src=]540Booth Talk
The guy on the far right, in this picture, is my father, Hal. Dad would occassionally work for me as an orchestrator as well as copy most of my independent projects.<br /><br />Of course, this was one of my independent projects and dad did all the music preparation. He had a beautiful hand (he is still alive) for music manuscript. Unfortunately, Finale, the composers computer helper, has a beautiful hand too. It kind of put him out of work due to the "extract" command etc.
[img src=]410With Larry Bunker on triangle
Larry Bunker was one of my favourite percussionist. Another one of those guys that you always knew where you stood and he was always very good to me from the time that I met him as a player and the times I hired him as a sideman when I became a composer. On this session he played a "mean" triangle but I don't think anyone played Timpani like Larry. It wasn't just his pitch. There was something in the way that he struck those things that just became real music. Shelley Manne played drum set for most of my TV shows. He took great pride in being "just a drummer"! Larry and Jerry Williams did most of my percussion work, however I remember on this particular date that Bob Zimmitti played drums.
[img src=]200Bill Conducting
Right hand and left hand technique are so important to a conductor! It almost looks like this guy knows what he is doing! Of course, good time helps. A good downbeat. And a good group of musicians to hold the conductor together.
[img src=]160Bill Checking the Score
I remember some of the musicians wearing small earphones in order to listen to special sports events and occassionally letting other fans on the session know the most recent scores. However, I must be checking the musical score here, most definitely. Questions about notes, rhythms etc. are fundamental to any session.<br /><br />The saying "God forbid they play what we write'" comes to mind in regard to the incredible rhythm players in Hollywood. They always made you sound like you new what you were doing!
[img src=]160Bill having a friendly chat
Someone very wise told me to never hire your friends. In actuality, I never did do that unless I knew they were as competent (or more so) as those I worked with. However, through the years those I worked with did become friends and they were the ones I learned to count on for any musical success.<br /><br />I still get amazed at the incredible professionalism and ability of those who where very much a part of teaching me my trade throught the years!<br /><br />The occasional banter and dialogue on the conductors podium was only bettered on the hourly breaks that were part of each session.
[img src=]180Tommy Morgan on Harmonica
Tommy is the guy on the left in this picture and though it is only his backside, you can recognize him by the carrying cart in the picture and the briefcase at the side of his chair. What else would Tommy play other than harmonica? What cannot Tommy play on harmonica? I do not remember when I first worked with Tommy but I know that by the time I was a composer/conductor he was used an awful lot by moi. One of the first shows that I wrote for on a regular basis was "BJ and the Bear". Lot's of music every week and country in its flavor. I always used five saxes (with doublers, of course), brass, some strings, rhythm and Tommy on harmonica. No matter what I wrote, note wise: unisons with fast string passages, melodic solos, a voice in the sax section, Tommy played and played and played. I enjoyed having him on each session and he was willing to share his knowledge on the instrument so that I could use his full ability at full value. Thanks, Tommy!
[img src=]130Chuck Domanico
There were basically two bass players that I used everytime I had a session. Chuck Domanico and Arni Egilsson. I talk about both when I am discussing people that I have worked with through the years. What I remember about Chuck most was his smile. He always smiled whether he was playing simple stuff or difficult stuff. As a conductor that puts ones mind to rest. If he added something musically that I did not think worked for me, I would nod negatively and he would smile and keep playing. The reverse was also true. When he added something musically that did work (and that was more the norm), I would nod positively and he would just keep smiling and playing. What is missing in this picture of course, is that nice full frontal view of that smile, but this does bring back a lot of very nice memories to me, just seeing this! Chuck is no longer with us but Arni is. Check out his website!
[img src=]280A Good Brass Section
From the bottom of the picture up we have Alan Johnson bass trombone, Bill Tole and Jim Sawyer on tenor trombones. (Students, please excuse their bad posture, they really are great players!)<br /><br />The trumpet players are Chase Craig and Dan Savant. These two were usually my regular players along with Uan Rasey, Johnny Audino, George Werth, Warren Leuning and Malcom McNab when I could get him. It was always such a tough decision!<br /><br />These guys are still around and playing great! Dan Savant is playing with Gordon Goodwins Big Phat Band and busy with a myriad of other projects.<br /><br />I keep up with many of them by looking at their websites or occassionally e-mailing them.
[img src=]150Moral Support
This picture is added for only a personal and simple reason. It is always good to have support from those that believe in you and although the "viewer" cannot see their faces clearly, the woman at the front and the man with his hands extend are my mum and dad. They were not at every session. They did not dote. But they did support and believe. From the time I told them I was going to Hollywood, they did not bat an eye of negativity. They just supported emtionally and otherwise. They were not rich in the dollar department but they were the wealthiest when it came to support. So I added this picture for the lovely memory it brings as well!
[img src=]130Booth Shot
A picture shot from the recording booth to the session and its players et al has always been one of my favourites. So it is included for the sheer like of it!
[img src=]270Bill with Lalo Schifrin
In the summer of 1985 Lalo was guest conductor for one of the San Diego Pops Orchestra's concerts. In this series of concerts, one concert was repeated for several nights at a wonderful outdoor theatre by the bay. I had been working for Lalo as an orchestrator and one day in his office he mentioned that he could not find a solo of Tommy Dorsey's Getting Sentimental Over You anywhere. He had checked all of the major movie studios and couldn't find an orchestra version. He really wanted a version for his San Diego Pops concert. Of course, I offered to do it for him but it was one of those awkward moments in the sense that he could not really pay me to do it. Well, I was gone the next weekend in the state of Michigan and had some extra time on my hands and I thought, "hey this is Lalo! He's been really good to me, why not just do it for friendship sake. Heck! I can use it for my own concerts later on when I'm conducting and soloing around!" So I did it! Lalo was surprised but I think very appreciative too and said that even though it was a little late it would be on the concert "no matter what"! Well I went a step further and asked if he would like and old trombone player (me) to come play the solo. Heck, it wouldn't hurt to be on stage with Lalo Schifrin and it was also an opportunity to spend some more time with this wonderful composer who had been so good to me! Long story short, he said yes, I did and the pictures are here to prove it. I'm glad that it all worked out. I had the opportunity to see Lalo in action and it also sparked a couple more performances with Lalo conducting and me writing and performing some new arrangements for trombone solo and orchestra. Lalo was a great help and mentor in my early career and he's forever in my personal Hall of Fame of life! Thanks, Lalo!
[img src=]170Bill with Lalo Schifrin
In the summer of 1985 Lalo was guest conductor for one of the San Diego Pops Orchestra's concerts. In this series of concerts, one concert was repeated for several nights at a wonderful outdoor theatre by the bay. I had been working for Lalo as an orchestrator and one day in his office he mentioned that he could not find a solo of Tommy Dorsey's Getting Sentimental Over You anywhere. He had checked all of the major movie studios and couldn't find an orchestra version. He really wanted a version for his San Diego Pops concert. Of course, I offered to do it for him but it was one of those awkward moments in the sense that he could not really pay me to do it. Well, I was gone the next weekend in the state of Michigan and had some extra time on my hands and I thought, "hey this is Lalo! He's been really good to me, why not just do it for friendship sake. Heck! I can use it for my own concerts later on when I'm conducting and soloing around!" So I did it! Lalo was surprised but I think very appreciative too and said that even though it was a little late it would be on the concert "no matter what"! Well I went a step further and asked if he would like and old trombone player (me) to come play the solo. Heck, it wouldn't hurt to be on stage with Lalo Schifrin and it was also an opportunity to spend some more time with this wonderful composer who had been so good to me! Long story short, he said yes, I did and the pictures are here to prove it. I'm glad that it all worked out. I had the opportunity to see Lalo in action and it also sparked a couple more performances with Lalo conducting and me writing and performing some new arrangements for trombone solo and orchestra. Lalo was a great help and mentor in my early career and he's forever in my personal Hall of Fame of life! Thanks, Lalo!

History Flashbacks - 1970's

[img src=]6030The Joy's of Conducting
It's hard to explaing the incredible feeling I used to get when I became a composer/conductor. Starting as a player, in the trenches so to speak, and then stepping on the podium is a unique transition. These men and women I got to play with in Hollywood were not just great and marvelous musician's, they had become my friends and confidants. I remember the very first time I stood on the podium. It was at Universal Studios and it was for a show called It Happened One Christmas starring and produced by Marlo Thomas. I came in early in the morning, 60 some musician's ready to go to work, stood on the podium and around the studio were loud and encouraging comments like "yo! Bill", "Way to go, Billy" etc. I knew it was going to be a good day! This picture reminds me of the times of dialogue between myself and these great musician's. I would say most likely that someone, probably, in the rhythm section, was explaining to me how they could play it in a different and better way! Would I mind? Go for it guys and thanks a heap of bunches for making me more successful and giving me a lot of support and fun in the process!
[img src=]420Ask the Engineer
When we decided to do this session, we also decided to do it as "live" as possilbe. That is, mixed to 2 track stereo 1/4" tape with no edits, cut-ins, punch-ins, sweetening etc. Just play each chart from top to bottom, beginning to ending, make it work and leave with the Master Recording in hand. This type of recording always challenged the musician's and put a good edge of incredible concentration and determination in their gut (or pride) once the downbeat was given. As to the first paragraph: "tape" is a word not even known in today's dialogue. Single edge razor-blades are passe, and 71/2 ips, 15 ips and 30 ips seem lost forever in the language of the recording engineer or producer. If you ever meet me personally, ask me about the "ol' days" when we used to "cut tape" and make great edits. For me a problem in acoustical recording is making the balance of the group sound like everybody has presence without anyone or any section being too pronounced in the forefront of sound or the back part of sound. I'm still one of those believers that there are different kinds of mixes for different genres i.e. TV, Motion picture, CD etc. It's something I always enjoy discussing.
[img src=]300Nothing like playbacks!
In these early days of my career there was a distinct difference in listening to playbacks in album recording, TV scoring and Movies as far as I am concerned. In television you could be a little laxed. As David Rose once told me: "Remember, Bill, TV has little speakers, they can only take two lines of music at a time when it's mixed in with the dialogue and the sound effects." There were times after a take on my TV sessions that I would hear a clam, mistakes, error (whatever you want to call it). At times there was a judgement call that it would never be heard in the final mix with the dialogue etc. so I would let it pass. Movies were and are different to be sure. Big sound systems in theatres, today's home systems are incredible. You want to make sure your recording is as accurate and balanced as you can possibly get. On this particular session, in this picture, you can see the intensity of our listening to the playback. On one of the numbers there was one decision by Dick and myself to let something go because we thought the total performance was so wonderful it demanded it. However, in album production you want to make sure that everything is there and balanced to perfection. To me that's the beauty and challenge of live acoustical recording.
[img src=]200Dick Noel the forever friend!
I spent more time with Dick than anybody. At his home with Bev (his wife) and his two kids, Jackie and Ty. Dick played an instrumental part (seriously no pun intended) teaching me some very valuable lessons. As David Rose was my main teacher/mentor as a composer, Dick was that to me as a professional player. We had many great and personal moments together that will forever remain in the positive recesses of my heart and mind. Yo! Dickie!
[img src=]340Big Band Session 1974
For those people who happen to have ahh la Broughton Bill's Ballad'! these are pictures of the session that those big band pieces were recorded on. As usual, lot's of guys were photographed from the back, but in this picture you can almost see some faces. Just closing the door behing him entering the studio is my dear friend Shelly Cohen who was the assistant music conductor behind Doc Severinsen and the famous Tonight Show Orchestra in the USA. The sax section from the left was Jackie Kelso one of the true great jazz players I've ever met, Tommy Newsom not just a sax player but an arranger and musician of the highest standard, Bill Calkins with flute in hand and John Lowe on the end with his Baritone sax. Over in the trumpet section you can barely make out George Werth and Uan Rasey and in the glasses, if you can make it out on the far right is Johnny Audino. Unseen in that particular section is Warren Leuning but he can be heard on the tracks just fine. Though the trombone players are not seen along with the rhythm guys...I remember a very young Alan Kaplan, Jim Sawyer on tenors and Craig Ware on bass trombone. They're the guys that took the place of the last generation of players. I remember Larry Bunker on timps and I think Mike Melvoin was on piano! Gosh this seems like ages ago. That's probably because it was. This was my first investment into a recording session and all we could afford was four tunes which ultimately, nearly 25 years later, ended up on the ahh la Broughton Bill's! album.
[img src=]310One of the Many Faces of Bill
Once again in the first picture (starting from the left) you have the back of the head of John Lowe who I have mentioned before but if you look really closely underneath my left hand and inbetween the podium, you will see a very young Craig Ware who has always been very high on my list of bass trombone players next to George Roberts. Probably 80% of all the sessions I played as a player were with George. Oh, the stories! The other two pictures are rather obvious in nature. As a player in Hollywood, there was nothing more exciting than to daily be with the ladies and gentlemen of high musical virtuosity and ability. But, I have to tell you, that there is nothing in the world like having these people play your music and know that no matter what you write it's going to be excellent at worst!
[img src=]150One of the Many Faces of Bill
[img src=]120One of the Many Faces of Bill
[img src=]330Promo Shots
Every artist needs a promo shot and this is the one I had done in the 70's as I was trying to get more concerts, clinics and whatever I could to enhance and broaden my career boundaries. Actually, the website's Testimonials with all the trombone guys: Dick Nash, Dick Noel, Lloyd Ulyate, Tommy Pedersen and the rest were collected during this time of my career. What an incredible shirt! Now that's dressed to the "nine's"! What did I ever do with that. Heck if I kept it, one of these days it could come back in style like my grandfather's suit. Well the website has other one's around it, but I thought this was really stylish! Oh the things we do to get attention!
[img src=]410Hawaii Five-O! First screen credit
My film writing career started in the later 1970's and though I had helped a few composers up to a point, my very first screen credit was Hawaii Five-O, which I played on for seven years and which, wonderfully enough, I got to share with my brother Bruce Broughton who everyone should look up on the internet. His credits speak for themselves thought I could say a lot of things about him that are very factual but most people think that I would be boasting just because he's my older brother. Well he is older but only by 17 months. We both started in Hollywood around the same time. Bruce as an assistant music supervisor and me as a fledging trombonist. All this to say that my only goal was to be a trombone player in the studios and nothing else. However, seven years later I found myself with an interesting decision to make and it lead me to the composer/conductor field. By the time I started writing Bruce had already had several Emmy Nominations and had won one or two if memory serves me quickly. Most producers ask me if I wrote like him and my retort was always, "No, I write like Bill Broughton". It was at a lunch with the production crew of Quincy, M.E. that I felt that I had arrived as a composer. The Executive Producer was talking about who they would like to use on the next episode and I heard him respond: "I don't care who you get as long as it's a Broughton!" Bruce is my biggest fan and I am his. He was my first encourager and mentor when it came to arranging and composing. It was David Rose (Bonanza, Little House on the Prairie, The Stripper etc.) who took me to the next level and insisted that I change from player to composer, but that's another story in itself. Everything aside, it was a monumental rush the first time I saw my name on Network Television in the US. The only thing that could come close was the pride of sharing my first job with my brother, Bruce!