Barry's work had perhaps outlived its usefulness, becoming inflexible through the series of predictable drama assignments of the 1990's that didn't require the composer to challenge the style that had brought him his final awards recognition ten years earlier. Just as he was named an Officer of the British Empire by Queen Elizabeth II in 1999 for his achievements in music, Playing by Heart would become yet another disappointment in what would prove to be his final year of regular film score production. About three-quarters of John Barry's score for Playing by Heart would eventually be removed by the producers of the film --against the wishes of the director-- and replaced with hastily written material by Christopher Young. Barry's original score features a smaller ensemble for most of its length, utilizing Barry's traditional jazz elements (trumpet, alto sax, harmonica, piano, bass, and drums) to create an intimate, 50's style nightclub score. From Body Heat to The Specialist, fans could hear snippets of the influences from Barry's roots, but in many of those cases, the dramatic undertones of the music had been dominant. For Playing by Heart, Barry would offer lengthy, ambient performances by the small ensemble and his usual string orchestra for dramatic effect. For only a few moments in "A Place Inside Alive and Well," Barry's trademark harmonica style raises memories of Midnight Cowboy and Dance With Wolves. To fully enjoy the album, you have to be the sort of person who can become lost in Barry's simple, and yet beautiful small ensemble themes, two of which (introduced in the two opening cues on the album) repeat almost unhindered throughout the work here.

Without an appreciation for the nostalgia conjured by this music, the score could easily pass you by without making much of an impression. There is an allure to these rare, intimate recordings for modern films that is perfect for the moody crowd browsing through the jazz section of the local CD store. Also likely to please that crowd will be three original tracks by Chet Baker that were recorded back in the 1950s. The switch to and from analog sound is noticeable, yet the source music fits so well into the score that the difference is hardly problematic. Chris Botti's "Remembering Chet" performances on the trumpet are also mixed in with the rest of the score; together, these tracks are a splendid compilation for the genre. As writer Jon Burlingame states in the album's notes, "L.A. musicians love to play on Barry dates because he is among the few true melodists writing movies these days." And it's because of this genuine style of thematic simplicity that the score functions so well. Playing by Heart won't be a good match for every film music fan, and it might not even interest those Barry fans who are attached to his grandiose scores with more ambitious intent. But if you enjoyed those glimpses of old-style Barry through the years, this is a fitting finale piece for his career. During all of 1999, only two tracks of Barry's score for Playing by Heart (the two primary suite cues) had been available domestically in the United States on a commercial album. Decca and Universal would provide the complete score on a 2000 CD with Barry's material occupying the majority of time on the product. The Young contribution, a sore spot for many viewers of the film (as well as crew members), has never been released commercially.  ***   @Amazon.com: CD or Download