Working with actress Julia Louis-Dreyfus resulted in “Himalayan Walking Shoes.” But perhaps the most famous instance in which a cast member became involved in a musical number belongs to actor Jason Alexander who portrayed one of television’s all time great characters: George Costanza. But except for Married With Children, Seinfeld was the only show where I really felt part of the comedy.” They got to know me and they would find ways of putting Wolff to work and I did crazy stuff for that show too. I got to do that kind of stuff for Married With Children every week. Elaine gets into Puddy’s car and there’s Christian rock on. “I did have a special, warm, fuzzy spot for Seinfeld as it got wackier and wackier and as they wrote more things in the script for me. They’d say, ‘Wolff, you know what to do!’” he said. With the ‘Finale Suitcase Montage’ and the ‘Waiting For the Verdict’ blues montage, the only audio is me. For example, those chase scenes - ‘Cable Guy vs Kramer Chase,’ which is on the record,” said Wolff. “There were times on Seinfeld that I didn’t get on other shows to really be able to be involved in the comedy.
#SEINFELD THEME MIDI TO MP3 SERIES#
While his involvement with most of the other series that he composed for started and stopped with creating music that captured a certain sentiment or struck a particular chord, Seinfeld utilized him, and his sense of humor, in a whole different way. In a standout moment from the series, Wolff accompanied guest vocalist Mel Torme on piano in The Jimmy, an episode which finds Jerry questioning the office antics of dentist Tim Whatley (famously portrayed by guest star Bryan Cranston). (Photo by Cheriss May) (Photo by Cheriss May/NurPhoto via Getty Images) NurPhoto via Getty Images Hamilton LIVE, Washington, DC, USA,, on Wednesday, April 5, 2017. Jonathan Wolff, renowned television composer, performs at the Grammys on the Hill Awards, at The. In addition to bass during the opening theme, Wolff draws on his jazz training during a trio of “John Jermaine Jazz” songs, as heard within episode The Rye, rounding up session musicians as necessary (legendary session player Tommy Morgan, who added harmonica to The Beach Boys’ “Good Vibrations” and can also be heard in hundreds of films, handled harp on “Waiting For the Verdict Blues” from the Seinfeld series finale). From The Trip comes stereotypically cheesy guitar-driven rock via the aptly titled “Rock Music Video.” From The Muffin Tops episode, there’s “Kramer’s Crappy Banjo.” “Peterman in Burmese Jungle” follows it on the album, building suspense via its utilization of the sitar. The new Seinfeld (Original Television Soundtrack), available for streaming via Spotify, Apple Music and more, manages to draw on a variety of sounds from throughout the show’s run.
#SEINFELD THEME MIDI TO MP3 TV#
Nobody recreates the theme for a TV show every week.” Because it was weird! It was something from Mars. So that for every monologue, I could create a different recording to compliment the timing and length of each. “And that was my approach to the Seinfeld theme - to create Lego pieces of music that were modularly manipulable. The frequency range of this bass, in a general way, stayed out of the frequency range of the audio of his voice so as not to compete,” said the composer.
“But it could start and stop to allow for Jerry to tell his jokes, hit the punchline and I would fill in the blanks - maybe accentuate with that slap bass the end of a joke like a vaudeville rim shot. It was an element buried in the mix of funk music,” Wolff said. “At the time, slap bass had not yet enjoyed celebrity status as a solo instrument. Wolff performed the signature basslines himself and created countless themes, each centered around the cadence of Jerry’s spoken word delivery. Unlike most other sitcoms, the Seinfeld theme music could change each week.
How about this? How about if we treat your human voice telling jokes as the melody of the Seinfeld theme? My job will be to accompany you in a way that’s fun and quirky but does not interfere with the audio of your standup routine.’” “On that first phone call, I said, ‘Jerry, that sounds like a recipe for an audio conflict. And he wanted unique, signature theme music to go with it,” explained the composer. “But when Jerry called me, he described to me the problem he was having: the opening and closing credits for this new show were to be Jerry doing stand-up material in front of an audience. I’m not innocent,” said Wolff with a chuckle. “In the late 80s, early 90s, there was a lot of saxophone and silly lyrics… Guilty! I created a lot of that kind of music.
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