How a Film Composer Created a New Soundtrack for Bentley’s Flying Spur – Robb Report

Since the appearance of rudimentary car radios in the early 1920s, the automobile and music have gone hand in hand: just think of the number of road trips that have benefited from a memorable soundtrack thanks to the tunes provided by an old player. eight-track cassette player or CD player. As automotive has progressed, so has in-car audio, with premium brands collaborating with equally exclusive sound providers.

One of the benchmarks in this respect is the long-lasting partnership between Bentley and Naim. To commemorate the 14th anniversary of this harmonious pairing, the duo recently became a trio, enlisting Hollywood music producer Steve Mazzaro to create a nine-plus-minute score to showcase Naim’s 2,200-watt system, available as a that upgrade in models such as the Flying 2022 Spur.

Hollywood music producer Steve Mazzaro is working on “Extraordinary Journey”, his composition made exclusively for Bentley.

Kelly Serfoss, courtesy of Bentley Motors Limited.

Mazzaro, who works closely with renowned film and television maestro Hans Zimmer, recently arranged parts for the film dune and the latest James Bond opus, no time to die. Naturally, his composition for Bentley, aptly named Extraordinary journey (listen to it here), has a cinematic gravitas that complements the Flying Spur’s dramatic cabin, named Robb Report‘s Best Automotive Interior two years in a row.

The Bentley Flying Spur V8.

The 2022 Bentley Flying Spur V8.

Richard Pardon, courtesy of Bentley Motors Limited.

“I knew it had to be modern and have a bit of a edge, but still be precise,” Mazzaro said in a recent chat with Robb Report on the project, which took him a few weeks to write. “The soulful kinetic sound intro was my way of creating the engine.”

The 12.3-inch touchscreen inside a Bentley.

The Bentley x Naim audio system is managed via the Flying Spur’s 12.3-inch touchscreen.

Kelly Serfoss, courtesy of Bentley Motors Limited.

The opening instrumental picks up speed quickly, carried by the famous flamenco guitar work of Latin-Grammy nominee Amir John Haddad, part of which was recorded in Spain. In fact, the highly synchronous nature of the complex track belies the fact that the several contributing musicians each played their parts independently and from all corners of the globe, including cellist Tina Guo in Las Vegas, guitarist Guthrie Govan in London and bassist Juan Garcia-Herreros in Vienna. Molly Rogers (who backed Andrea Bocelli) on violin, drummer Satnam Ramgotra (heard on the scores of The Lion King and The black Knight) and percussionist Holly Madge.

One of the speakers in the Bentley x Naim in-car audio system.

Naim’s latest configuration includes 21 speakers and transducers.

Kelly Serfoss, courtesy of Bentley Motors Limited.

En route to Sunset Boulevard to meet Mazzaro, the instrumental number echoes throughout the cabin of our Flying Spur V8 test vehicle. Divided into three distinct movements, the piece begins with frenzied intensity, followed by a quieter middle section that transitions into a catchy, synthesizer-laden denouement that lacks only rolling credits on the windshield. Everything has been developed to optimize the soundscape specific to the configuration of the Bentley x Naim system, which includes 21 speakers and transducers in the Flying Spur, and whose controls are managed via the 12.3-inch touchscreen of the car.

“I got detailed specs of the speakers, their locations, and the format the audio would play in, so I was able to use it,” says Mazzaro, who pans and bounces the musical elements on the screen. together for an innate sense of movement.

Film composer Steve Mazzaro sits in a Bentley and listens to his composition made exclusively for the luxury automaker.

Behind the wheel, Steve Mazzaro takes a moment to appreciate the soundscape he helped create.

Kelly Serfoss, courtesy of Bentley Motors Limited.

Extraordinary trip will also be available to hear in dealer showrooms and on Bentley’s SoundCloud site. Asked about the first time he heard his composition in the vehicle, Mazzaro admitted that he struggled to be critical. “As an artist, you’ll always listen and think ‘Ah, I should have done this, or done that,'” Mazzaro says, “but with the car itself, the interior and the sound system, I m didn’t care – it sounded fantastic.

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