The Bourne Supremacy [Original Motion Picture Soundtrack]
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Performer Notes
Composer: John Powell .
Personnel: John Powell (guitar, programming); George Doering (guitar); Eun Mee Ahn, Anatoly Rosinsky, Katia Popov, Robin Olson, Barbara Porter, Ken Yerke, Ronald Folsom, Jeanne Evans, Franklyn D'Antonio, Mari Tsumura, Mario de Le?n, Eric J. Hosler, Norm Hughes, Mark Robertson , Jay Rosen, Joel Derouin, Lisa M. Sutton , Sid Page, Richard Altenbach, Jacqueline Brand , Roberto Cani, Bruce Dukov, Julie Gigante, Clayton Haslop, Natalie Leggett, Darius Campo, Michael Markman, Dimitrie Leivici, Rafael Rishik, Charlie Bisharat, Endre Granat (violin); Shawn Mann, Victoria Miskolczy, Michael Nowak , Marlow Fisher, Matthew Funes , Cassandra Lynne Richberg, Rick Gerding, Brian Dembow, Keith Greene, Roland Kato, Simon Oswell, Dave Walther , Shanti Randall, Robert Berg (viola); Michael O'Donovan (bassoon); Gary Grant, Rick Baptist, Walt Fowler (trumpet); Steven Holtman, Phillip Teele, Charles Loper, William Frank "Bill" Reichenbach Jr. (trombone); Phillip Yao , John A. Reynolds, David Duke , Steven Becknell, Brian O'Connor , Brad Warnaar (horns); Randy Kerber (piano); Curt Bisquera, Gregg Bissonette, Vinnie Colaiuta (drums); Daniel Greco , Michael Fisher, Bernie Dresel, Brian Kilgore (percussion); T.J. Lindgren, John Hugh Thomas (programming).
Audio Mixers: Dennis Sands; Steve Kempster.
Recording information: The Sony Scoring Stage.
Editor: Daniel Lerner.
Arrangers: T.J. Lindgren; John Hugh Thomas; John Powell .
The espionage genre requires a soundtrack as taut as its subject matter, so it came as no surprise when composer John Powell (The Bourne Identity) (The Italian Job) signed on to score the second installment of Robert Ludlum's popular Jason Bourne series. Powell expands on the themes from the previous film, adding a bevy of nervous percussion to the already tense staccato string motif that follows Matt Damon as he circumnavigates the globe to clear his name in the sequel, The Bourne Supremacy. This time around, the composer reins in some of the first film's bombast, allowing the spaces between the orchestral and electronic bursts to simmer in anticipation, resulting in a more refined and elegant score. Moby provides the film's closing credits with "Extreme Ways," a track that also appeared in the first film. ~ James Christopher Monger
