Add a cover

General information  

  • Real name : Trevor Alfred Charles Jones
  • Date of birth : 23/03/1949

Alias  

  • Jones Trevor
  • Trevor Alfred Charles Jones

Ratings

This media has not been rated yet.
Be the first one!

To rate this media or to interact with your friends, create a free mediatly account. You'll also be able to collaborate with our growing community and make it you digital entertainment center.

Friends who like

Sign up to see which of your friends like this.

Linked media  

Linking media

Mediatly © 2013

Mediatly, The multimedia social network

Discover new movies and TV shows to watch, novels or comics to read, music to hear and games to play thanks to your friends. It's fast, free, simple and enjoyable!
To start discover a new world, Sign up for free

  
Trevor Jones (1949)

Trevor Alfred Charles Jones

Type :  

  Summary  

Trevor Alfred Charles Jones is a South African orchestral film score composer. Although not especially well known outside the film world, he has composed for numerous films and his music has been critically acclaimed for both its depth and emotion.

  Biography  

 career
At the age of five, Jones already had decided to become a film composer. In 1967 he attended the Royal Academy of Music in London with a scholarship and afterwards worked for five years for the BBC on reviews of radio and television music. In 1974 Jones attended the University of York from which he graduated with a Masters Degree in Film and Media Music. At the National Film and Television School Jones studied for three years on general film-making and film and sound techniques. During this time he wrote the music for twenty-two student projects. In 1981 Jones wrote the score for the Academy award-winning short movie "The Dollar Bottom" and for the short "The Black Angel".

Jones was soon after brought to the attention of John Boorman, who was in the midst of making his Arthurian epic, Excalibur . Although mostly tracked with classical music by Richard Wagner and Carl Orff, Boorman also needed original dramatic cues for certain scenes. Given Excalibur's modest budget, a "name" composer was out of the question, so Boorman commissioned the up-and-coming young Jones.

Excalibur brought Jones to the attention of Jim Henson, who was making The Dark Crystal , and looking for a composer who was young and eager to work in the experimental, free-wheeling way which Henson preferred. The resultant score is an expansive, multi-faceted work, featuring the London Symphony Orchestra, augmented by inventive use of Fairlight and Synclavier synthesizers, as well as period instruments like crumhorn, recorder, and the unusual double-flageolet, which Jones came across by chance in a music store.

Jones followed Excalibur with scores for films like The Sender and the pirate adventure Nate and Hayes . In 1985 Jones composed one of his best scores, for the acclaimed television production The Last Place on Earth.

Jones reunited with Henson for the 1986 fantasy musical Labyrinth. David Bowie wrote and performed the vocal tracks for this movie, including the hit "Underground", while Jones provided the dramatic score.

Reflecting that his complex, symphonic score for The Dark Crystal garnered little notice, Jones began to re-think his entire approach to dramatic scoring. Around the mid-80s, Jones' work became more electronic-based , eschewing identifiable themes in favor of mood-enhancing synth chords and minimalist patterns. While he did write a somber, chamber orchestra score in 1988 for Dominick & Eugene , scores like Angel Heart , Mississippi Burning and Sea of Love are more typical of Jones' output during this period.

Jones' return to large-orchestra scoring came with 1990's Arachnophobia, and he provided a light-hearted Georges Delerue-flavoured score for Blame it on the Bellboy in 1992.

Jones' most popular success came later in 1992 with his score for The Last of the Mohicans, and his soaring, passionate music belies the difficulties which afflicted its creation. Director Michael Mann initially asked Jones to provide an electronic score for the film, but late in the game, it was decided an orchestral score would be more appropriate for this historic epic. Jones hurried to re-fashion the score for orchestra in the limited time left, while the constant re-cutting of the film meant music cues sometimes had to be rewritten several times to keep-up with the new timings. Finally, with the release date looming, composer Randy Edelman was called-in to score some minor scenes which Jones did not have time to do. Jones and Edelman received co-credit on the film . Although all were displeased with the circumstances, Jones was not fired from the film despite reports to the contrary.

Jones became active in television in the 90s, with orchestral scores for several Hallmark productions, including Gulliver's Travels, Merlin and Cleopatra. He also provided a fun, jazzy, 30s-style score for Richard III , which features a swing-band setting of Christopher Marlowe's The Passionate Shepherd to His Love. In 1997 Jones worked for the first time with acclaimed director Ridley Scott, providing an electronic/orchestral/rock-flavoured soundtrack for G.I. Jane .

Show more

  Albums 

  Tracks  

Name Duration Released
Elk Hunt 01:49 1992
The Courier 02:27 1992
Main Title 01:44 1992
Top of the World 02:43 1992
Massacre/Canoes 06:52 1992
I Will Find You 01:42 1992
Munro's Office/Stockade 02:30 1992
Pieces of a Story 04:58 1992
Promentory 06:15 1992
The British Arrival 02:00 1992
Fort Battle 04:22 1992
Parlay 03:46 1992
The Glade Part II 02:34 1992
River Walk and Discovery 05:30 1992
The Kiss 02:47 1992
Cora 02:30 1992

  Movie

  TV show

  Album

  Music track

  Crew    

  Companies    

  Photos    

  Videos  

  Press reviews    

  User reviews

  Sources

Whole or part of the information contained in this card come from the Wikipedia article "Trevor Jones (compositeur)", licensed under CC-BY-SA full list of contributors here.