Dr. No is the film score for the 1962 film of the same name composed by Monty Norman. Scoring the film Composer Monty Norman was selected by producer Albert R. Broccoli after Broccoli backed a musical of Norman's Belle or The Ballad of Dr. Crippen written by Wolf Mankowitz, a frequent collaborator with Norman and an original screenwriter for Dr. No. Norman's only previous film score had been The Two Faces of Dr. Jekyll (1960). Norman traveled to Jamaica on the same chartered aircraft as the producers and many of the film's crew arriving on 14 January 1962. He met Chris Blackwell, a location scout and production assistant recommended to the producers by Ian Fleming. Blackwell introduced Norman to Byron Lee and the Dragonaires who performed the Jamaican music in the film. Lee and his band including guitarist Ernest Ranglin and trombonist Carlos Malcolm recorded the Jamaican parts of the score in Kingston's Federal Studios, with Norman himself and his then wife Diana Coupland who accompanied Norman on the airplane containing the film's crew to Jamaica, recording vocals along with Byron Lee and the Dragonaires who appear in the film performing "Jump Up". The song "Under the Mango Tree" was performed by an uncredited Diana Coupland, backed by Ernest Ranglin on guitar. Ranglin also played on several other tracks. Lee recalled that most of their work was not used in the completed film but appeared on the soundtrack album. The rest of Norman's score was orchestrated by his frequent arranger Bert Rhodes, to whom Norman gave half of his £500 fee, and was recorded at CTS Studios, 49–53 Kensington Gardens Square, Bayswater, London on 25 and 26 June 1962 with the 20–30 piece orchestra conducted by Eric Rogers. None of the orchestrated tracks appear on the soundtrack album. The original "James Bond Theme" was written by Norman. John Barry, who would later go on to compose the music for eleven Bond films, arranged the theme, but was uncredited – except for the credit of his orchestra playing the final piece. John Barry claimed he, not Norman, originated the theme. This argument has been the subject of two court cases, the most recent in 2001. Some portions of the theme Norman claimed were based on music from the song "Good Sign, Bad Sign" that he composed for his unstaged musical several years previously, titled "A House for Mr. Biswas". Vic Flick,