No in non-jazzy guises. Barry's arrangement is repeated ("tracked") in various scenes of the first Bond film. This is consistent with the account given by Barry and some of the film-makers, contained in supplementary material on the DVD release of Dr. No: Barry was called in to make an arrangement of Norman's motif after Norman had completed the score. There is no information about the distinctive ostinati, countermelodies, and bridges introduced by Barry that are juxtaposed with Norman's motif in order to flesh out the arrangement. These added musical figures have become as recognizable to listeners as Norman's motif, which is probably responsible for the controversy over the authorship of the "James Bond Theme" as listeners have come to know it. Also of note, the "James Bond Theme" introduction is very similar to a portion of Celia Cruz' Plegaria a La Roye as recorded in Cuba with La Sonora Matancera in 1954. The "James Bond Theme" was recorded on 21 June 1962, using five saxophones, nine brass instruments, a solo guitar and a rhythm section. The guitar motif heard in the original recording of the theme was played by Vic Flick on a 1939 English Clifford Essex Paragon Deluxe guitar plugged into a Fender Vibrolux amplifier. Flick was paid a one-off fee of £6 for recording the famous James Bond Theme motif. John Scott played the saxophone. Barry, who was paid £250 for his work, was surprised that his theme appeared so often in Dr. No. He was told by Noel Rogers, the head of United Artists Music, that though the producers would not give him any more money or a writing credit they would get in touch with him if there was another Bond film made. Use in the James Bond films Within the Bond films themselves, many different arrangements of the theme have been used, often reflecting the musical tastes of the specific times. The electric guitar version of the theme is most associated with the Sean Connery era although it was also used in some Roger Moore films, in Timothy Dalton's final film Licence to Kill and in the Bond films starring Pierce Brosnan and Daniel Craig with the arrangement by David Arnold. For every Bond movie which John Barry scored, he orchestrated a slightly different version of the Bond theme, as can be heard during the gun barrel sequence. These specialised Bond themes often reflected the