Jeremy Lubbock Interview Part 1: Tribute to master arranger, producer, composer, musician

In 2008 I wrote and hosted a 7-part series for BBC Radio 2, “Richard Niles’ History of Pop Arranging”. This eventually led to my PhD from Brunel University and my book, “The Invisible Artist”. The book, with interviews and 222 musical transcriptions of some of the greatest records in popular music, is available here:

 

 

Anyone who speaks to Jeremy Lubbock becomes aware very quickly that they are in the presence of a man who thinks very deeply—not only about music. His instincts are based on this intense thought process. Lubbock’s writing transcends craft to produce art of the highest order because of his mastery of his own distinctive musical language.

Lubbock, who passed away in January 2021, was an Englishman in both Los Angeles and New York. A highly respected and in-demand arranger since the 1970’s, he was also an acclaimed composer, songwriter and producer. Transcending the arbitrary divisions of this work into decades, his experience makes his comments on the state of the industry today particularly valuable.

His impressive career began with ear-training from his father, a respected classical musician. At the age of sixteen he turned his attention to jazz and pop and was soon working as a pianist and singer in London and Paris while studying architecture. In 1953 he recorded a version of the Perry Como hit Catch a Falling Star produced by George Martin. This led to club dates during the 1960’s.

By the 1970’s his arranging abilities landed him jobs with the BBC and ITV. His ‘big break’ came when composer Don Specht invited him to come to Los Angeles in 1977. He introduced Lubbock to producer Henry Lewey and in 1979 this led to Lubbock arranging Joni Mitchell’s acclaimed album Mingus.

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