The composer and bandleader Laurie Johnson has died at a venerable age.
Among other things, Johnson was the composer of super-cool TV music for shows such as “Jason King,” “The Professionals,” and of course “The Avengers” – by which I mean the elegant and often surreal spy-fi series, starring Patrick Macnee and Diana Rigg. You won’t find the incredible Hulk shooting very many corks out of champagne bottles.
Johnson was already composing and arranging for the Ted Heath Band by his late teens. At 21, he was recording with his own band for EMI. He spent four years in the Coldstream Guards. In the 1950s, he became well-established as a composer and arranger for many of the major big bands.
His music for the stage included collaborations with Lionel Bart (of “Oliver!” fame), Peter Cooke (of “Beyond the Fringe”), and Harry Secombe (of “The Goon Show”).
Later, he cofounded Mark 1 Productions, the television company responsible for “The Avengers” and “The Professionals,” and became co-owner of Gainsborough Pictures.
Among his feature film scores were those for Stanley Kubrick’s “Dr. Strangelove” and the Hammer cult classic “Captain Kronos – Vampire Hunter.”
Arbiters of “serious music” are too often dismissive of the kind of skill it takes for an artist of Johnson’s ilk to succeed. It requires versatility, speed, polish, and instant memorability. What’s more, those putting up the money want it on the cheap. You won’t find many Stravinskys or Schoenbergs in the field (although, Lord knows, both tried to break in).
Johnson was tutored at the Royal College of Music by Herbert Howells and Ralph Vaughan Williams.
In addition to conducting albums of his own works, he recorded film scores of Dimitri Tiomkin and “North by Northwest” by Bernard Herrmann. He also wrote an autobiography, “Noises in the Head.”
He directed, toured, and recorded with his own big bands well into old age. I own a number of their recordings. I’m thinking I might resurrect one of his more ambitious works, the “Symphony (Synthesis),” this weekend on my radio show, “The Lost Chord.”
In 1971, a critic for Gramophone magazine described the symphony as a masterpiece: “This is perhaps the first truly successful combination of the Jazz and European music traditions,” he wrote.
Johnson died on Tuesday at the age of 96. R.I.P.


