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Home , Bob Enevoldsen, Carson Smith (musician), Freddie Redd, Hugh Hurd, In the Vanguard, Jack Gelber

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Image: with Shafi Hadi recording the score for Shadows © Marvin Lichtner/The Cinema Museum

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FOREWORD

Words fl ying a thousand miles an hour, heads spinning, eyes fl ashing, tyres twisting tarmac as straight street slides by and the great unknown night rises to snatch you into its cold, dark embrace. Gasoline, Thunderbird and Bennies. Next stop San Francisco, San Antonio or San Atorium. Out of the shadows they came. Rude, righteous and in your face, daddy-o. What are you rebelling against? Whaddya got? April In Paris. Give me Sartori In Paris any day. And make sure is there to blow sweet and high. As a kite.

Out of the twilight murk of post-war fi lm noir emerged a new strand of shadowy cinematic ON FILM concepts. This time though the fi lms were more sexually provocative, fraught with existential angst In memory of and fi zzing with outsider rebellion towards the Eisenhower mainstream of 1950’s America. The beginnings of a generation in motion, with to crank the starting handle. Like the Beat Clive Edward Lazell Generation, bebop was young, hip, cool and underground. Not only did it fi re up writers such as 1938-2012 Jack Kerouac and , but key directors too such as John Cassavetes and Don Siegel and an inspirational father and best friend the music chased the narrative like cat and mouse. These eight cult movies and their enthralling soundtracks presented here are crystalline windows into a lost world. Flashbacks to a more innocent age when young people fi rst realized they did not have to live by the codes and conceits of their parent’s world. War was over, but the generational wars were only just beginning. And writers like Kerouac were in the vanguard, bringing Beat and bebop together in a head-snapping rush of hope and excitement. None more so than these lines from his essay, Jazz Of The Beat Generation: ‘We seek to fi nd new phrases; we try hard, we writhe and twist and blow; every now and then a clear harmonic cry gives new suggestions of a tune, a thought, that will someday be the only tune and thought in the world and which will raise men’s souls to joy. We fi nd it, we lose it, we wrestle for it, we fi nd it again, we laugh, we moan. Go moan for man. It’s the pathos of people that gets us down, all the lovers in this dream’. A dream, it has to be said, that’s far from over. Jon Newey, editor Jazzwise (June 2012)

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cats, adopted from Black American jive. Language is a lethal INTRODUCTION weapon in the hands of the bikers; they bamboozle the law- abiding ‘squares’ of a small town with it (“nobody these days knows how to talk”, harrumphs one) before bulldozing it with anarchy. Brando was wearing the badge of emerging beat-ness. He’d started something that was picked up a couple of years In the beginning there was Marlon Brando. The new ‘method’ school of acting that put later by James Dean with his more angst-y, suburban middle-class an emphasis on naturalism and improvisation translated irresistibly to Brando’s bad- rebel in Nicholas ’s Rebel Without a Cause. The Wild One also mannered, brooding rebel outsider Johnny Strabler in director Laslo Benedek’s cult biker anticipated the rise of the teen exploitation’ movie (the ‘teenager’ B-movie The Wild One (1953). Here was a role model for disaffected youth coming out as a target market for advertising didn’t as yet officially exist). In of the post-war era looking to free themselves from the ‘phony’ values being impressed the convention of B-movie exploitation flicks (an attempt to evade upon them by their parents. Brando was speaking their language, both in the verbal and censorship), The Wild One begins with a prologue issuing a stark bodily sense. It was one that adult society couldn’t and wouldn’t understand. In the film warning about the menace to society of adolescent delinquency. Brando is cool, surly, and a sexual time bomb - his character entirely stripped of the kind of As does director Don Siegel’s Crime in the Streets (1956). John clean-cut image that young people would have had back then. Adolescent fantasies were Cassavetes plays the rebel role, and he was at this point a disciple, being unravelled on the big screen. Cinema was about to play a crucial role in spreading as was Brando, of the new Actors Studio. The score is by Franz the word. Waxman, a studio composer of the Golden Age of Hollywood who anticipated Leonard Bernstein’s far better known West In 1955, Bill Haley’s ‘Rock Around the Clock’ the title theme from the film Blackboard Side Story by twisting jazzily percussive syncopations and early Jungle kick started the rock n roll revolution. But as far as teen rebel cinema was Ellington-like instrumental vocalisations into a twentieth century concerned, it was jazz that got there first. Leith Steven’s score to The Wild One was symphonic setting. following the example set by Alex North’s breakthrough film music in 1951 for A Streetcar Named Desire (Volume 1 CD1 Jazz on Film...Film Noir) in its use of jazz as the central The author Jack Kerouac invented the term ‘Beat Generation’ element of a Hollywood film score. Brando’s Johnny and his black leather clad motorbike in the mid-1940s to describe a small literary circle of anti- gang looked on the surface more like rock n roll fans. But Johnny snaps his fingers as establishment co-conspirators initially including him, Allen the Bleeker Café jukebox blasts out a -arranged, Leith Stevens’ latin-bop Ginsberg and William Burroughs. Around the same time, jazz original; he mutters and slurs words spoken in the hipster jargon used by jazz was undergoing radical change. In ’s 52nd Street, a new

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generation of disenfranchised African-Americans spearheaded by reveal an authentic feel for the jazz of the period and feature some of its leading figures the saxophonist were performing a fresh, earthy, on both west and east coasts. As on The Subterraneans, the great baritone saxophonist intense, adrenaline-packed small ensemble jazz called bebop. is also the star turn on ’s score for I Want to Live (1958) a The similarities between the new jazz movement and Kerouac’s harrowing film that accurately reflected the beatnik protagonist Barbara Graham’s real voluble ‘stream-of-consciousness’ phraseology is much more than life love of bebop. was only ’s second feature film score having a coincidence. Kerouac lived and breathed bebop; it was a launch broken into the world of film composing in 1959 with (Volume 1 CD pad for much of his writing. In the late 1950s with the success of 5 Jazz on Film...Film Noir)). But both Paris Blues and The Subterraneans would shy away his first novel On the Road and the media controversy surrounding from confronting the racial taboos of the novels from which they were adapted. The actor- ’s insurrectionist poem Howl, the demand for turned-director John Cassavetes had no such inhibitions. In his semi-improvised budget cinema to reflect young people’s bohemian lifestyles was growing basement feature Shadows (1959), he filmed a new generation grappling with themes fast. Filmmakers started to shoot films on location in the hippest of identity and its interracial theme had an ambiguity and complexity about it that was a urban hangouts, and soundtrack them with bop-fuelled scores. radical move for the times. In Shadows the fiercely independent director John Cassavetes San Francisco was the setting for Ranald MacDougall’s flawed signalled a new liberation in cinema. He would be a torchbearer for the next generation adaptation of Kerouac’s The Subterraneans (1960). The Parisian of American filmmakers. The film was a reality check concerning the way young people left Bank, the backdrop for Martin Ritt’s Paris Blues (1961) and really lived and felt. The score - a mix of legendary bassist-composer ’ legendary French director Jean Carné’s Les Tricheurs (1958). compositions and solo improvisations by his tenor saxophonist Shafi Hadi - had taken shape in a way that was as chaotic and impulsive as the film it soundtracked. Shadows A successful Hollywood music director, was also might be the closest we have to a jazz film as opposed to a film about jazz. Jazz as no slouch as a jazz pianist; he hired the cream of ’s jazz cinema, cinema as jazz. To shoot Shadows, Cassavetes had borrowed a 16mm camera musicians to perform on his score for The Subterraneans, among from radical New York filmmaker who a year later made them Gerry Mulligan and . For Les Tricheurs, Norman (1961), a shamelessly decadent part-documentary set in a New York junkie’s apartment Granz’ ‘’, a pioneering mixed-race touring that boasted its own house band led by pianist-composer . It is a film about band of superstars featuring the likes of , Dizzy the ‘jazz life’, but one that Hollywood can only dream of making. Redd’s band featured Gillespie and Stan Getz, recorded in a Paris studio. But in both the legendary adventurous bop alto sax player Jackie McLean. There was someone who films, the portrayal of beats tends towards caricature; at worst had really lived it. they descend into a lesson in morality or feed the fantasy myth of Hollywood redemption. Fortunately though these films also Selwyn Harris, Jazzwise Magazine film writer

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THE WILD ONE (1953) Shorty Rogers

Music by: Leith Stevens CD1 Themes written for the original score from the film of director Laslo Benedek

01 The Wild One 02 Blues for Brando 03 Windswept 04 Chino 05 Lonely Way PERSONNEL 06 Beetle 07 Hotshoe 08 Scramble Tracks 01-04 by Shorty Rogers and his Orchestra Leith Stevens (arr, dir) 09 Bewildered Shorty Rogers, , , Tom Recorded in Los Angeles, October 2 1953 10 Black Rebel’s Ride Reeves, Ray Leen (tp) (fh) Paul Sarmento 11 Prelude to a Rumble () , (tb) Tracks 09-12 by Leith Stevens’ All Stars 12 (vtb) , (as) , Bill Perkins Shorty Rogers, (tp) John Graas (fh) Milt Drag For Beers (ts) (solo:02) , (bari-s) Russ Bernhart (tb) Sal Franzella (as, cl) Herb Geller (as) Bob Freeman (p) (b) (d) Cooper (ts) Jimmy Giuffre (bari-s) Bud Shank (bass-s) (p) Ralph Pena (b) or Shelly Manne (d) Recorded in Hollywood, July 14 1953 Recorded in Los Angeles, April 2 1956 Tracks 05-08 by Leith Stevens’ All Stars Shorty Rogers (tp) Maynard Ferguson (tp on #6,8) Milt High quality digitally remastered music based on the Bernhart (tb on #5,7) Bud Shank (as, ts) Bud Shank (fl, as, original soundtrack bari-s) Bob Cooper (ts) Jimmy Giuffre (ts, bari-s, cl) (p) (b) Shelly Manne (d) © & p Jazz on Film (MOOCHIN02) 2012

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Director Laslo Benedek’s rebels-on-wheels got in the Californian cool bop ensemble B-movie The Wild One was a landmark in leader-trumpeter Shorty Rogers, one of cinema, the first big screen exposé of a Kenton’s key arrangers and sidemen during growing anti-social youth culture. While this period. He hired Rogers again the rock n roll was still in the womb, jazz following year for the B-movie noir Private became the original soundtrack to the rebel Hell 36 (Volume 1, CD 1 Jazz on Film...Film lifestyle, even for black leather bad boys like Noir). Marlon Brando. Leith Stevens’ score mixes so-called ‘progressive’ west coast big band The film was loosely based on a short jazz with the then ecstatic rhythms coming story The Cyclists' Raid by Frank Rooney out of the R&B and Afro Cuban music clubs published in 1951 by Harper’s Magazine and dancehalls. It was around this time that in which rival motorbike gangs clashed a few film composers were starting to draw in Hollister, California. But the camera from elements of 20th century classical crew had to make do with the backyard modernism, an arguably more authentic at Columbia’s San Fernando Valley ranch. reflection of the restless post-war era than It’s there that Johnny and his gang known any of the ‘romantic’, sentimental music as the ‘Black Rebels Motorcycle Club’ of the Hollywood Golden Age. To these terrorize the small-town of Wrightsville. dense, dissonant ensemble colourings, One of Johnny’s boys is hospitalised in a Leith Stevens added bebop and the kind crash and that’s just as well because he of ecstatic Afro-Cuban rhythms introduced needs an excuse to stick around. He’s fallen Brando is the original rebel without a cause, even by the big band of the mid- for a waitress Kathy (Mary Murphy), a more 1940s, creating a highly potent emotional innocent, ‘square’ kind of chick to those before James Dean. In The Wild One he answers the brew. These elements had already fed he usually meets. When the wild rival biker into the work of the orchestra leader Stan gang ‘Beetles’ leader Chino (played by question, “What are you rebelling against Johnny?” Kenton in the early 1950s. For the jazz another future star Lee Marvin) is thrown and orchestrations Stevens into jail, both gangs unite to sabotage the with another one, “Whaddya got?”

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town to an extent that forces some of its the required tension and anguish in The the British Board of Censors finally getting citizens to turn to mob rule to drive them Man With the Golden Arm (Volume 1, CD a release in 1967 when it received an 18 out. 2 Jazz on Film...Film Noir). certificate. It might look pretty tame by today’s standards but The Wild One still

The jazz historian David Meeker suggests Leith Stevens Shorty Rogers’ recordings of the main has a menacing air about it simmering the music was specifically arranged for themes featured here are arguably the best just below the surface. A lot of that was Shorty Rogers’ ensemble known as the available versions; the American jazz author down to Brando’s performance. Brando Giants. But it was still the era of the and historian Ted Gioia has commented that is the original rebel without a cause, even Hollywood studio, and although now a Rogers, “was content here to submerge his before James Dean. In The Wild One he shadow of its former self, CBS insisted style in someone else’s”. As well as Rogers, answers the question, “What are you on using their own contracted orchestral the music was worked into the film so it had other Kenton alumni featured include the rebelling against Johnny?” with another players. In spite of this, Rogers sneaked an impact on the shooting and dialogue trumpeter Maynard Ferguson, whose use one, “Whaddya got?” The film influenced fellow jazzers such as and rather than the other way around. An ex- of stratospheric, ear splitting high notes German bikers to stage copycat riots and Bud Shank into the original session for the pianist with the opera company puts him firmly in the Dizzy Gillespie mould. became the blueprint for road movies such recording session we hear on the film. But who had led big bands in the 1930’s swing In contrast we hear a more Ellingtonian as the countercultural classic Easy Rider the result is less jazz sounding than the era, Stevens imagined modern jazz as a side to Rogers’ craft in the (1969). Elvis copied his sideburns, and composer and his arranger had hoped for, fitting illustration of the novel set of issues of the ballad ‘Blues for Brando’. It isn’t a James Dean reinvented his beat posturing and both Rogers and Stevens looked to facing the young rebels on the screen. blues in the musical sense, but the theme in Rebel Without a Cause. Both actors were make up for that less than a year later with “The characters in the play are young is poignantly expressed by the tenor part of a new ‘method’ school of acting the improved, slightly more jazz-orientated people, full of tensions, for the most part saxophonist Bill Perkins, a performance that had significant cultural and artistic arrangements of the original score that are inarticulate though, exhibitionist, confused that Gioia described as, “representative of parallels to bebop that emphasized self- heard here. and wandering. These characteristics the tenorist’s best playing of the 1950s”. expression and spontaneity. In the end suggested the use of progressive jazz or it’s perhaps a film that’s remembered for Nowadays score composers are normally bop - call it what you will - as an important Following the American release in its social rather than artistic impact. But it a last consideration in the film production aspect of the score.” Film composer Elmer 1953, moralistic pressure groups stated wasn’t an isolated experiment. It was just line, but Stevens was allowed to work with Bernstein too, a couple of years later, saw Hollywood was "corrupting the youth of the first of the beat generation road trips producers and director very early on. In fact modern jazz as the ideal music to reflect America". It was banned for 14 years by to make the big screen.

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CRIME IN THE STREETS (1956) John Cassavetes

Music by Franz Waxman CD1 The original score from the film of director Don Siegel

13 The Plot 14 The Crime 15 The Celebration

PERSONNEL

Los Angeles Music Festival Jazz Orchestra featuring Pete Candoli (tp) Jack Dumont (as) Charles Gentry (ts, bari-s) Ray Turner(p) Joe Mondragon (b) Franz Waxman (arr, dir)

Recorded in Los Angeles, July 19 1956

High quality digitally remastered music from the original soundtrack

© & p Jazz on Film (MOOCHIN02) 2012

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snitched on a gang member for threatening Crime in the Streets struck a similar a youth with a zip gun from rival gang the tone to The Wild One with its out-of- Dukes, but has also literally slapped Frankie control rebel gangs introducing a bit in the face. Only two gang members say they would go so far as Frankie and knock of bedlam into a quiet, law-abiding someone off though – the sadistical Lou smalltown. But while Brando’s Johnny (Mark Rydell) and the impressionable young ‘baby’ Angelo (Sal Mineo), an actor and his gang got their kicks on the road, best known for his appearances in the John Cassavetes’ Frankie and co prowled James Dean vehicle Rebel Without a Cause the shadowy streets and alleyways of and West Side Story. their own neighbourhood. It’s a flaw of Crime in the Streets that it finds a neat solution to a complex question created as a one-off TV episode about what’s really motivating these new in 1955 by the director Sidney Lumet, teenage tearaways. There is a cure to Crime in the Streets stars Cassavetes in his Frankie’s bad behaviour and it involves a first significant film role as the rebel leader do-good social worker Mr Wagner (James Frankie. A gang going by the name of the Whitmore) who’s always snooping around Hornets have ditched family life for the the gang. It might be an interesting city’s mean streets. Brought up in a slummy question as to whether the cause of the neighbourhood, Frankie is their angry growing teen rebel phenomenon was a young leader. He detests the passivity lack of parental discipline, a lack of their Franz Waxman gave to his symphonic score an inspired of his parent’s world. How angry is he? understanding of their own kids, or the Would he go so far as to commit a murder? fault of society at large. But the film would jazz twist, that made it as volatile as the film's main Frankie plans as much for his middle-aged be a better one if it didn’t try to hammer its neighbour Mr McAllistair who’s not only ‘message’ home. characters.

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an urban backdrop, something that West style jazz band called the Weintraub Siegel had two years previously hired Side Story composer Leonard Bernstein Syncopaters and went on to orchestrate the composer Leith Stevens for another was also keen to explore. Some will say and arrange musicals at the UFA Studios. b-movie Private Hell 36 [Volume 1, CD1 Waxman’s music isn’t jazz at all though: it It paid for his classical music studies in Jazz on Film...Film Noir]. is through-composed with absolutely no Berlin and Dresden. He got his first job improvisation. But the score is strongly in the film industry, orchestrating for the With little budget to play with, Siegel had to suggestive of jazz. Written in three parts, classic German film The Blue Angel (1930) make do with a rather lean, mainly studio- Part 1 ‘The Plot’ can be likened at times to that starred Marlene Dietrich. However he based setting. Aside from the opening the heavily syncopated percussive fireworks was beaten up in the streets by Nazi gangs, rumble on a studio set, the action all takes of George Gershwin or Stravinsky’s concert so escaped to Paris with his wife where place within a confined space: a short row of music while Part 2 ‘The Crime’ echoes he met up with other Jewish exiles and tenements, a backyard and a dark alleyway. Crime in the Streets could be said to some of the early Ellington band’s smears, artists including the acclaimed director Billy Still, Siegel made the most of what he had have anticipated West Side Story (1961) a blues notes and pitch bending that’s also Wilder. They headed to Hollywood where and it’s a nice touch how Frankie and his musical based on a 1957 Broadway play that a part of Alex North’s Streetcar Named Waxman produced a pioneering Wagnerian disciples prowl the street and mark out similarly relayed a story of socially deviant, Desire (see Volume 1, CD1 Jazz on Film... leitmotif-inspired debut score to The Bride their territory as jungle cats would, crawling leather-jacketed street gangs. That’s in Film Noir). Part 3 ‘Celebration’ on the of Frankenstein (1935). A hugely prolific up fire escapes as if climbing trees. Crime terms of its music as well. Franz Waxman, other hand nods to the emerging rock n career in Tinseltown beckoned, with scores in the Streets hasn’t dated particularly well one of the musical founding fathers of roll boom in 1956 with its raunchy sax-led for Alfred Hitchcock, notably Rebecca but it’s still watchable. A lot of that is down Hollywood’s Golden Age, alongside such good time R&B. The score is performed by (1940) and Rear Window (1954) through to to John Cassavetes; if you overlook the film composers as Max Steiner, Dimitri the Los Angeles Music Festival Orchestra, an Oscar-winning double: Sunset Boulevard tendency of his character to self-pity, there Tiomkin, Bernard Herrmann and Miklós founded in 1947 by Waxman to champion (1950) and A Place in the Sun (1951). Amidst is a hypnotic presence and aura he exudes Rózsa, gave his symphonic score an contemporary classical music. the powerful sweep of strings, the latter on the screen that has something fresh inspired jazz twist making it as volatile as its score contained a trace of jazz in the sultry about it. It’s a taciturn, understated bit of main characters. It’s an example of how jazz Jazz was also a key part of Waxman’s sax motifs played by Ted Nash, a personal ‘method’ acting that contrasts with the old elements might best fit into an angular yet background in his native Germany. In the selection of Waxman’s. But director Don school theatricality of the rest of the cast, tonal 20th century symphonic structure to 1920s, he was pianist, writer and arranger Siegel’s Crime in the Streets was Waxman’s but it gives the film a welcome injection of not only inject some excitement but reflect for a popular, Berlin-based Charleston- first full bloodied jazz-inspired score. beat-like spontaneity.

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I WANT TO LIVE! (1958)

Music by Johnny Mandel CD2 The original score from the film of director Robert Wise

01 Theme from I Want to Live! 02 Black Nightgown 03 Night Watch 04 Frisco Club 05 Barbara’s Theme 06 Life’s a Funny Thing 07 Main Title 08 Poker Game PERSONNEL 09 San Diego Party 10 Henry Leaves 11 Stakeout Tracks 01-06 by Gerry Mulligan and The Jazz Combo Bill Holman (s, cl) Marty Berman (bcl, contra bassoon) 12 Barbara Surrenders Gerry Mulligan (bari-s) (tp) Bud Shank (as, fl) (bass-s, contra bass cl) (db) (tb) (p) Red Mitchell (b) Shelly Pete Jolly (p) Al Hendricksen (gtr) Kathryn Julye (harp) 13 Trio Convicted Manne (dr) Johnny Mandel (arr) Shelly Manne, Larry Bunker, , , 14 Trip to Corona Mike Pacheco (d, perc) Johnny Mandel (arr, cond) 15 Recorded in Los Angeles, May 24 1958 Peg’s Visit Recorded in Los Angeles, August 12 & 22 1958 16 Gas Chamber Unveiling Tracks 07-22 by Johnny Mandel & his Orchestra 17 Nightmare Sequence , , Ed Leddy (tp) Frank Rosolino, High quality digitally remastered music from the original , (tb) Dave Wells (bass tp, tb) Vince De soundtrack 18 Preparations for Execution Rosa, Sinclair Lott, John Cave, Dick Parisi (French horns) 19 Letter Writing Sequence Harry Klee (flt, picc) Abe Most (cl) (s, bcl) © & p Jazz on Film (MOOCHIN02) 2012 20 The Last Mile 21 Death Scene 22 End Title

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‘You are about to see a factual story…’ protagonist (played by the sometimes by a media circus, vengeful bad guys and a Originally a brass player who notably had irritatingly over-theatrical though defiantly police force desperate to pin a murder on performed in the late 1940s with Woody is the controversial claim made right at charismatic Oscar-winning actress Susan Graham, whose history of minor vice and Herman’s Second Herd among others, Hayward). To say she’s down on her luck perjury convictions haunts her. The final Mandel was very in-demand through the opening to I Want to Live! (1958) is a huge understatement. But Barbara half hour of the film takes place in the gas the 1950s from coast to coast for his Graham doesn’t care for the phonies in chamber and sets the gloom level even songwriting and session arrangements. The film has been the subject of some charge. She's a beat girl, a real-life jazz higher. But it also is the most engaging part While Gerry Mulligan’s California-based derision as it clearly suggests Barbara fan who hates ‘squares’ and digs Gerry of the film with its compelling argument all star septet was the ‘diegetic’ or source Graham was innocent; this is the story of Mulligan – “I have all his records” she against capital punishment. With stark, music, at the club, radio, parties or on her state execution in a San Quentin gas announces in one scene. So the opening lingering detail, especially considering Graham’s gramophone player, Mandel chamber in 1955. It’s based on Pulitzer scene in San Francisco’s ‘Frisco Club’ is a it was still the censor-happy 1950s, the wrote the ‘non-diegetic’ (originating from Prize-winning news journalist Edward perfect introduction to her milieu outside execution sequence also demonstrates the a source outside of the film) or incidental S. Montgomery’s articles and Graham’s jail, as it’s a great slice of bop that shows clinical degradation required of humanity parts of the score for a larger unit of 26 letters. Montgomery’s sensationalist it wasn’t just cool tones breezing in from in having to carry out the death penalty. musicians. It was highly unusual at the newspaper headlines originally helped to the west coast in the 1950s. A boisterous To prepare for this chilling sequence, the time for a Hollywood melodrama not to condemn Graham, but in a late u-turn he Gerry Mulligan septet, the leader solos director Wise witnessed first-hand an feature the obligatory ‘romantic’ studio ended up championing her cause in the ecstatically on baritone with trombonist execution in the same San Quentin gas orchestra on the soundtrack, but Mandel same papers and TV newsreels in which Frank Rosolino, trumpeter Art Farmer and chamber in which Graham really died. In was allowed a rare freedom to experiment he’d previously character-assassinated her. saxophonist Bud Shank either side of him the final scene, public spectators glare as by Wise, a music-loving director who’d The film didn’t bring Graham back but it and equally on the money. The scene is shot if watching an exotic fish in an aquarium; previously directed classic musicals Sound does much to cloud the final judgement on with the camera at an angle of about 30 they are all but accomplices in her murder. of Music and West Side Story, as well as a sharp-tongued, wild party girl who didn’t degrees as if the screen were tilted slightly. hiring the MJQ’s in 1959 for always pick the right moments to roll her A noir-ish visual metaphor that’s an omen It was André Previn, (who composed another jazz-orientated score in a third imaginary dice. for the unsettling narrative that follows, or The Subterraneans score), at the time stream vein, Odds Against Tomorrow (Vol an acknowledgement of the screenplay’s a successful MGM film arranger and 1, CD 5 Jazz on Film…Film Noir). Mandel It’s a rather negative but well-made noir, slanted perspective on the truth? The film composer, who recommended Johnny could take more risks. He had unusual unusual for starring an ill-fated female ‘noir’ reveals a kind of Kafkaesque witch-hunt led Mandel to the film’s director Robert Wise. instrumental colours reflect the tone of the

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film at pivotal moments, such as the high nightclub and session scene." Mulligan’s playing the melody in this case was Johnny Mandel pitched e-flat played by Abe Most biographer Jerome Klinkowitz described something you never hear - a piccolo on ‘Trio Convicted’ to depict Graham’s Mandel’s bouncy, ‘Life’s a Funny Thing’ as in its bottom register. It makes an eerie defiant scene-hogging on her arrest, and a track that could have been penned by sound. You'll notice that it doesn't Harry Klee’s eerie low-register piccolo Mulligan himself and the saxophonist was even sound like a piccolo... almost like in ‘Nightmare Sequence’. A large Afro- to form his acclaimed Concert Jazz Band in someone's dying gasp." Cuban-like percussion section is employed 1960, that to some extent followed in the throughout the score to get over a sense of footsteps of Mandel’s ensemble here. In spite of having an unusually large danger, commentating on both the looming amount of creative freedom when it presence of the police and Graham’s raw Jazz playing on the radio in Grahams’ came to writing a score, Mandel still sensuality. Mulligan didn’t play in Mandel’s nightwatch cell is an evocation of the good grasped an important notion: for the orchestra due to other commitments so times: “Gerry Mulligan. I know all of his cinema audience, film music is often at it’s Bill Holman’s baritone sax we hear sides by heart” she tells her attendant. it's most effective when received at both on the slinky, bluesy Pink Panther-esque Mandel was asked to write incidental music a conscious and subliminal level. Mandel title theme that is tailored imaginatively for the final execution scene, a very tricky went on to write the memorable Theme in order to reflect the different scenes it task as he explained in an interview with From ‘Mash’ and the score for Point accompanies. Patrick McGilligan in 1998: "What I didn't Blank among others. I Want to Live! was want to do is get very dramatic. When you extremely successful in box office terms, Gerry Mulligan, at the time a reputable see somebody die in a gas chamber, it's notching up six Oscar nominations in all, writer and arranger himself, enjoyed a not like being electrocuted; it's more like Susan Hayward taking the award for close collaboration with Mandel. A mutual the life seeping out of you as the cyanide Best Actress. It was odd that Mandel’s respect already existed between the pair. takes over. It's anticlimactic. I had to score didn’t figure among them. Even Said the composer, "I first ran into Gerry concoct something that felt like the scene so, the film’s popularity would create a when he was with Gene Krupa and I was looked. What you saw on the screen were climate for more jazz on film going into with . This was in '46…somehow clouds of smoke, so I used instruments the 1960s. Mulligan and I and a whole bunch of us weaving in and out of each other, creating were thrown together in the New York an impressionistic texture. The instrument

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LES TRICHEURS (1958)

Music by various artists including Stan Getz, , CD3 and Dizzy Gillespie The original score from the film of director Marcel Carné

01 Les Tricheurs 02 Clo’s Blues 03 Phil’s Tune 04 Mic’s Jump 05 On the Alamo 06 Get Happy 07 PERSONNEL

Roy Eldridge, Dizzy Gillespie (tp) Stan Getz, Coleman 05 Isham Jones and Gus Kahn Hawkins (ts) Oscar Peterson (p) (g) Ray Brown 06 and Ted Koehler (b) Gus Johnson (d) (as) (tracks 05, 06, 07) 07 Ben Bernie, Maceo Pickard and Kenneth Casey

Compositions: Recorded in Paris, May 1 1958 01 Stan Getz and Roy Eldridge 02 Coleman Hawkins High quality digitally remastered music from the original 03 Roy Eldridge soundtrack 04 Dizzy Gillespie © & p Jazz on Film (MOOCHIN02) 2012

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Director Francois Truffaut, one of those portrayal of youth can feel like it’s coming leading the innovative charge of the New from the perspective of an outsider, which Wave, accused an elder statesman Marcel it was. The great actor Jean-Paul Belmondo Carné of “dragging French cinema into has a role in both films: an insignificant mediocrity” with Les Tricheurs (1958). cameo debut in Les Tricheurs he was It was the eve of the Nouvelle Vague, elevated to a star in Godard’s milestone and a celebrated ‘poetic realist’ French picture. According to Carné, Les Tricheurs filmmaker was about to become one centred on the “inability of young people of yesterday’s men. It didn’t matter to commit themselves emotionally” to that Marcel Carné had just made a very each other. Les Tricheurs translates as The popular and controversial film, a story Cheaters and it seems to suggest that they It was the eve of the ‘Nouvelle Vague’, of ‘free love’ and jazz in the bohemian end up cheating themselves. Left Bank area of Paris. Carné is an often and celebrated French filmmaker Carné overlooked master of 1930-40’s French The story centres around a restless, cinema. Although producing such widely bourgeois student Bob, played by Jacques was about to become one of yesterday’s heralded masterpieces as Les Enfants Du Charrier (soon to be the husband of Paradis and Le Quai Des Brumes, his own Brigitte Bardot), who starts to hang out contribution is often downgraded to that with the existentialist modernists of the men. Even though he had just made the of team player. Carné had always made Rive Gauche, the bohemian quarters films about society’s ‘outcasts’ and Les of Paris in which major parts of the film most popular and controversial French Tricheurs (AKA Youthful Sinners) isn’t any are located. Bob spies one of the gang different. But when Truffaut’s iconoclastic Alain stealing from a record shop and film about wayward youth mixing ‘free peer Jean Luc-Godard made Breathless a ’s version of Johnny Mandel’s year later, it suddenly made a formal old- ‘Tommyhawk’ plays in the background. love’ with jazz in the bohemian Left school melodrama that is Les Tricheurs Carné bought the rights to a selection look very dated. While Godard’s young of recordings for the soundtrack and people are giddy and carefree, Carné’s Gerry Mulligan (‘Bernie’s Tune’)and Buddy Bank area in Paris. Jazz at the Philharmonic

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Rich (‘Desperate Desmond’) through to Dorfmann if he would hire the band for Fats Domino are a few of the others that a recording session. Granz, the founder perfume the atmosphere, playing in coffee of , had organized some of bars and on record players. The young the first de-segregated touring US jazz bohemians are Modernists, the original ensembles as far back as 1944, insisting on Mods, as the movement came to be known equal treatment for all his musicians or no primarily in the UK in the 1960s. This is play. He set up supergroup jam sessions most evident in the Vespas they ride, and and recorded many to LP, starting a drift narrow-lapelled suits, turtle necks, parkas towards live jazz concert recordings. In and duffel coats they wear. But the original 1957 JATP played two concerts at the Salle Parisian modernists differ from their 1960’s Peyel in Paris. Only the previous year, Granz heirs in that they have more in had stopped touring America to focus on with the ‘existentialist’ coffee bar culture Europe. The band that plays on the score of the period, and dance to a musical recording following the Paris concerts was Jacques Charrier (right) as Bob soundtrack that’s a combination of modern one of Granz’ most luminary to bridge jazz and R&B. swing and bebop, with saxophonist Stan Getz, Coleman Hawkins, trumpeters titles (‘On the ‘Alamo’, ‘Get Happy’ and were alarmed at the casually promiscuous Besides the recordings mentioned above, Roy Eldridge, Dizzy Gillespie, and Oscar ‘Sweet Georgia Brown’) were part of the 40 behaviour of the young people in the film, Carné also saw the value in having original Peterson, the Canadian pianist who Granz minutes or so of the total material recorded even though the sex on screen is always music in the film. (he would feature jazz discovered and introduced to American – On these tracks there is a notable guest of an implicit nature. But it reveals a major again in Mal Waldron and ’s audiences. The swinging rhythm section appearance from alto saxophonist Sonny theme of the film, that falling in love was score to Trois Chambres a is Peterson’s bassist Ray Brown from his Stitt, who swung by after having just played never part of the plan. Les Tricheurs is a film (1965)) Hearing about a visit to Paris by classic trio, and the lesser known drummer a gig at Paris’ Blue Note. that is fascinating as a period document the impresario/record producer Norman Gus Johnson. The originals written by the more than anything else. Still its classy Granz’ Jazz at the Philharmonic (JATP) band are used extensively in the party Les Tricheurs was banned in some areas of soundtrack by a modern jazz supergroup of touring band, Carné seized the initiative scenes and themes are a reflection of the France; the French not usually known for the era is much more than just the icing on and asked the film’s producer Robert main characters. The American Songbook their inhibitions compared to the British, the cake.

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PARIS BLUES (1961)

Music by Duke Ellington/ CD3 The original score from the film of director Martin Ritt PERSONNEL

08 Take the A Train 09 Battle Royal (aka Big Bash) Track 08 by Billy Byers (tb) Guy Lafitte (ts) Aaron Procope (cl. as) (ts) soloist (05, 06, 08) Bridgers or Billy Strayhorn (p) Michel Gaudry (b) François (bari-s, cl, bcl) Harry Smiles (ob) (solo 05, 10 Birdie Jungle ‘Moustache’ Galépides (d) Billy Strayhorn (supervisor) 06) Les Spann (fl, gtr)(soloist 03, 05) (b) Jimmy 11 Johnson, , , Dave Jackson, Philly 12 Autumnal Suite Recorded in Barclay Studios, Paris on November 1960 Joe Jones (d) 13 Nite Track 09, 14 by , Jacques Butler (tp) Recorded in Reeves Sound Studios, New York on May 14 Wild Man Moore William Boucaya (bari-s) René Nicolas (cl) Joe Baselli (acc) 2/3 1961 Michel Gaudry (b) François ‘Moustache’ Galépides (d) 15 Paris Stairs Maurice Thomas, Roger Guérin, Jean Vaissat, Vincent Track 11 by Murray McEachern (tb) Paul Gonsalves (ts) 16 Amour Cassino (tp) Billy Byers, Nat Peck, André Pacquinet, Billy Strayhorn or Duke Ellington (p) Unidentified (b, 17 Paris Blues Marcel Galliège (tb) René Nicolas, Jo Hrasko (as) Pierre gtr, dr) Gossez (as/ts) William Boucaya (bari-s), Jimmy Gourley (gtr),Michel Gaudry (b) Gus Wallez, Christian Garros, Recorded in Hollywood, from May-July 1960 François ‘Moustache’ Galépides (d) Track 16 by Barthelemy Rosso (ac gtr) Duke Ellington Recorded in Barclay Studios, Paris on 14 December 1960 (supervisor).

Track 10, 12, 13, 15, 17 by Duke Ellington (p)(soloist 08) Recorded in Barclay Studios, Paris on 14 December 1960 (soloist 06, 08) , , , Eddie ‘Moon’ Mullens (tp) Lawrence Brown High quality digitally remastered music from the original (soloist 06), , Murray McEachern (solo soundtrack 10), Louis Blackburn, (soloist 05) (tb); (soloist 03, 05, 06, 08, 10), Babe Clark (cl, ts) © & p Jazz on Film (MOOCHIN02) 2012 (soloist 10), (as) Russell

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of the Paris jazz scene at the close of the the cake, you dig?’ he tells Lillian. Newman 1950s. It’s jazz that brought them together spent three months being coached by US and Paris Blues is a film about the musicians, expat Billy Byers in how to look like he specifically Americans who enjoyed both knows how to play the and he is sanctuary and celebrity in Paris. Unusually ghosted on screen by Byers on everything for a Hollywood melodrama too, you get apart from the title track in which Murray your money’s worth of ‘live’ jazz on the McEachern plays; a film studio trombonist screen in Paris Blues, even though much of who later joined up with the Ellington band it is mimed. full-time.

In Paris Blues black tenor saxophonist and Ram Bowen is trying to make it as a ‘serious’ arranger Eddie Cook (Sidney Poitier) and composer and Eddie’s his arranger. When Ram Bowen are enjoying a starry status; superstar trumpeter Wild Man Moore at the time the popularity of American jazz played by Louis Armstrong (the original musicians there was at a peak. But Paris novel was said to have based the character wouldn’t be Paris without a romance - or on him) arrives in Paris for a concert two in this case: Lillian played by Newman’s (Armstrong’s all-stars played every week Sidney Poitier (Eddie) and Paul Newman (Ram) offscreen wife Joanne Woodward, and for the six he was there), Ram asks him to Connie (Diahann Carroll) are a pair of give his manuscript to René Bernard, the smalltown American tourists on vacation head of a conservatoire. (There is a dignity In the opening shot, set in a basement jazz the A Train’. The camera slowly pans the in the city. There’s nothing like a love and recognition given to Armstrong in the club in the Paris Left Bank, trombonist Ram audience. It’s a rent-a-beatnik crowd with affair to get in the way of a jazz musician’s role he plays which hadn’t applied to his Bowen (played by Paul Newman), starts on tables of couples of mixed race, age, and independence. Besides girls are throwing film acting before Paris Blues.) Meanwhile an unusual high pitched note that could same gender clicking their fingers and themselves at their feet, especially Ram’s, a Connie tries to persuade Eddie (who was easily be a train whistle. Cue his sextet nodding out of time with the music. Still self-absorbed, ‘misunderstood’ artist who’s coached by French trombonist Guy Lafitte, straight into the great Duke Ellington there’s a serious point being made here unable to make any commitments beyond but ghosted mainly by Ellington luminary band signature tune, Billy Strayhorn’s ‘Take about the social, sexual and racial diversity his music - ‘Everything else is just icing on Paul Gonsalves) that he should return

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home to his in the States where his a similar theme of a mixed race couple. Armstrong was staying in the same hotel. ‘Battle Royal’, his distorting facial gestures community needs him – “I would say you’re Initially Paris Blues’ Oscar winning director Legend has it that as Ellington was busily providing a delightful commentary on the one of those socially conscious chicks” he Martin Ritt - a ‘liberal’ filmmaker blacklisted sketching out his score for Paris Blues at quality of his opponents’ challenges. The tells her. But Eddie is reluctant to leave Paris as Un-American in the witch hunts during the , he heard Armstrong answering Paris Blues title is a richly coloured 12- – only a few years later the escalation in the 1950s - was right behind Shaw’s idea his phrases on the in the room bar blues, with a trombone-led melody. the war with Vietnam would turn attitudes but gave way to pressure from the studios below. The two giants of jazz had only now It entered into Ellington’s repertoire against Americans and subsequently jazz in the end. and again crossed paths previously and it five months prior to his arrival in Paris musicians at the lower level of a Ram or was this hotel rendezvous that’s reported and was premiered on a live recording Eddie would suffer. Whether Ram Bowen Ellington went about pre-recording the to have led to their first recording session from California in 1960 on an album Hot returns to America or not with Lillian, is ‘diegetic’ club scene performances in together that was produced by Bob Thiele Summer Dance. ‘Nite’ and ‘Autumnal dependent on the now tired movie cliché Hollywood in May 1960 before shooting in early 1961 for , and Suite’ are both variations on ‘Paris Blues’ relating to the ‘jazz life’, the dilemma of began. But changes in the script forced reissued in 2001 as The Great : that are similar to those pastoral-inflected choosing between music or a girl. him to postpone his band commitments at Master Takes. orchestral pieces Ellington used as an home and go to Paris to re-record many of incidental music backdrop for Anatomy of As with The Subterraneans released the these tracks with mostly French musicians, Ellington doesn’t appear in Paris Blues a Murder, here accompanying a romantic previous year, the film stopped short of unaware that the original interracial (he played a cameo in Anatomy of a moonlight walk in front of the Notre Dame illustrating an interracial relationship, a concept for the film had been ditched. Murder). But there are some memorable or a boat ride on the Seine. The addition major theme of the original novel Paris Although Ellington was used to composing moments from Armstrong on screen: the of the junkie gypsy jazz guitarist played by Blues written in 1957 by Harold Flender specifically for his own musicians back roar of the crowds that greets him as he Serge Reggiani lends the score a Parisian which had inspired the film. According to home, a remark later that “those European arrives at the railway station, as he blasts flavour, and ‘Guitar Amour’ draws from in his biography about his cats are something else,” reveals how a solo from the train window on ‘Wild Man both classical and flamenco sources – it father, it was something that had especially he might have enjoyed writing for the Moore’ - he described his theme as, “in was dubbed by Barthelemy Rosso, though intrigued Duke Ellington, when he was first French jazz musicians on the recording. He the typical French or European serenade Jimmy Gourley plays guitar on most of the approached to do the film score by the would record the part of the score that’s style of these exuberant little bands that score. The Oscar nomination for Ellington producer and photographer Sam Shaw. incidental music back in New York in 1961. meet you at stations”. Later Armstrong’s (the film’s only entry) in 1962 almost made Ellington and Strayhorn had based a part He spent eight weeks in Paris nevertheless, band gatecrash Bowen’s set and he duels up for his music for Anatomy of a Murder of Deep South Suite recorded in 1946 on (appearing on TV and in the theatre too) and with each band member on the thunderous losing out a couple of years previously.

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THE SUBTERRANEANS (1960) André Previn

Music by André Previn CD4 The original score from the film of director Ranald MacDougall

01 Main Title (film version) 02 Bread and Wine 03 Things are Looking Down 04 Red Drum Blues 05 Should I? PERSONNEL 06 Coffee Time 07 Source No. 1 (Guido’s Blackhawk) 08 Source No 2 09 Balloon All tracks written by André Previn except 02, 03,11 by Andre Previn ensemble 05 Brown/Freed Russ Freeman (p) Bill Perkins (ts) Gerry Mulligan (bari-s) 10 Main Title (Leo and Mardou) 06 Warren/Freed Art Pepper (as) Art Farmer (tp) Bo Enevoldson (vtb) 11 Alarm Clock (Raising Caen) Buddy Clark (b) (dr) 01, 14-18 by Andre Previn orchestra Andre Previn (cond) 12 Spaghetti Factory featured soloists: Gerry Mulligan, Art Pepper, Jack 13 Roxanne at Ariel’s Sheldon, André Previn Track 13 by André Previn (harpsichord) Russ Freeman (p) 14 Togetherness Shelly Manne (d) Tracks 04, 12 by Gerry Mulligan Group 15 Look Ma No Clothes Gerry Mulligan (bari-s) Art Farmer (tp) Dave Bailey (d) Recorded in California, Los Angeles 1959 16 A Rose and the End Russ Freeman (p) Buddy Clark (b) 17 Analyst/I'm Leo/Yuri and Leo High quality digitally remastered music from the original Tracks 05-10 by André Previn Trio soundtrack 18 Two by Two/Leo and His Mama André Previn (p) Shelly Manne (d) Red Mitchell (b) Carmen McRae (vcl on 06) © & p Jazz on Film (MOOCHIN02) 2012

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Besides director Walter Salles’ On the Road The film’s producer Arthur Freed had released in 2012, the largely forgotten recently come off the set of the Oscar- Gerry Mulligan and unavailable The Subterraneans (1960) winning Gigi, at the end of a string of is the only other Jack Kerouac novel to hugely successful MGM Musicals. Freed have found its way onto the big screen. If brought his star actress Leslie Caron with On the Road is a film more faithful to the him and she played the part of Kerouac’s novel (drifting more towards the original love object, Mardou Fox, a stand-in name version from the 120-feet long scroll that for Alene Lee, the novel being about their Kerouac typed on in fact), its effect is real-life love affair. Freed being loyal to hardly earth shattering. These are far, far his cast also brought with him then MGM less innocent times. In 1960 however it in-house composer André Previn. Most of would have been extremely daring, as well Previn’s score is ‘diegetic’, heard at source as suicidal in terms of box office, for MGM and performed by some of the leading west studios in Hollywood to get anywhere near coast bop musicians of the period. It’s a conveying the then taboo themes and spirit standard 1950’s mix of soul jazz and blues- of restless anarchy and raw candour that inflected west coast bop performed by runs through The Subterraneans, Kerouac’s the Previn trio and Mulligan’s septet, with first completed work of ‘spontaneous quality solos from the likes of the two Arts: prose’. With no major independent movie saxophonist Pepper and trumpeter Farmer, studios winning four Oscars, although the with whom he regularly performed on the industry and strict censorship at the time, pianist Russ Freeman (Previn sits these out) witty accounts of his early experiences with LA jazz circuit. As well as his trio of Red it’s perhaps no wonder that the film is only and not least from the inventive baritone musically clueless Hollywood bigwigs in Mitchell and Shelly Manne who had recently a superficial reminder of the original novel. saxophonist himself. We hear elsewhere his 1991 autobiography No Minor Chords recorded on , Previn Kerouac’s Beats parodied as pseudo- a sweetly romantic orchestrated version presents this side of his career in a different built a band for the score around the iconic intellectual beatnik caricatures in camped- of Previn’s -like title theme light. Although he found worldwide fame baritone saxophonist Gerry Mulligan, who up Hollywood style. The Beat Generation and incidental symphonic cues. Since the as a respected orchestral conductor, the was cast in a cameo role as the reverend packaged, as happens to any youth 1940s, the German born Previn emerged still active octogenarian was a very fine Joshua Hawkins, a sax wielding hipster movement that gets too big. as a successful Music Director at MGM jazz pianist. It was natural to hire musicians priest from a ‘poet and painters’ mission. It

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was around the time Mulligan was getting In the film Mardou is white and French, to be the only big feature he would ever compete with. Kerouac makes fleeting his Concert Jazz band underway. In a whereas in the novel she’s half African- direct while Freed’s career would also end references to musicians such as Mulligan beat club scene Mulligan plays baritone American, half-Cherokee. It was too quite abruptly. MacDougall’s initial idea and Charlie Parker in the novel. He wrote with a band featuring Farmer, Pepper and resonant a motif in the novel to be ignored, was to have the film open with the credits in Mexico City Blues (a collection that Freeman. Previn shows the high quality of but the topic of miscegenation was a big rolling over a Jackson Pollock-meets-Mark turned onto poetry) how he his soloing on the Freed standard ‘Should no-go in commercial cinema at the time. To Rothko-type canvas, making a parallel wished to be considered a “jazz poet”. I?’ with his regular trio and an unusual trio add to this, while Kerouac’s novel ended between the modernists American art The Subterraneans was written in 1953 in setup with Previn on harpsichord alongside with the couple splitting, the film does the forms of the period: beat literature and a three day-and-night burst of creativity piano and drums accompanies a groovy complete opposite. It offers a kiss-and- abstract expressionist painting as well as fuelled by liquor and uppers. The feverish party happening. An early club scene is make-up finale in which they decide to bebop. But the scene was replaced in the tone, the gasps where punctuation memorable for the appearance, even if it trade new bohemia for sweet suburbia in final version by a far more conventional should be, and a spontaneous, darting is criminally cut short, of vocalist Carmen Mexico with Mardou having fallen pregnant. opening shot of a picture postcard narrative demonstrates the influence McRae singing her sassy version of ‘Coffee Not quite what Kerouac had in mind. Both San Francisco, the location for both of bebop on Kerouac’s writing. But, as Time’ backed by Previn’s trio. The song, the author, who was said to have visited film and novel. The description of The with jazz musicians, meticulous planning originally written by the producer Freed the set while drunk, and Ginsberg were Subterraneans as a bohemian movement and rehearsal were also key. Opposed to and , has a revised lyric that’s unsurprisingly horrified. that appears onscreen was originally taken editing of any kind, Kerouac has said it took an anthem to the beat coffeehouses, from a quote by poet Allen Ginsberg all of 15 years to perfect the voice for On “where all the new bohemians go”. But to give the producer Freed his dues, (who’s Adam Moorad in the film/novel) but the Road which he went on to write in three it at least started with good intentions. the message was diluted in the final edit. weeks. With The Subterraneans likewise, The film centred, as did the novel, on the Buying the rights to Kerouac’s novel for Confectionary technicolor replaced austere based entirely on autobiography, he drew tormented love affair between Kerouac only $15k in spite of its bestseller status, monochrome. The studio ‘squares’ were from sketches and detailed diary accounts. (taking the pseudonym Leo Percepied and Freed set out initially to portray the beats the ones in control. By the late 1950s, Allen Ginsberg had read played by then upcoming actor George in a more sympathetic light, and not Howl aloud in San Francisco, and with the Peppard) and Mardou, a member of the glossing over the novel’s more provocative In spite of all this, the film’s score of obscenity trial and publication of On the ‘cool’ underground movement the beat elements. Ranald MacDougall was hired authentic period live jazz is the one Road, the beats would hit the mainstream. poet Allen Ginsberg had dubbed The as director, though better known as a thing Salles’ contemporary adaptation And that’s the moment when the film Subterraneans. screenwriter. Ominously it turned out of On the Road would never be able to version of The Subterraneans comes in.

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SHADOWS (1959)

Music by Charles Mingus CD5 Themes written for the original score from the film of director John Cassavetes

01 Untitled Percussion Composition 02 Nostalgia in Times Square 03 Alice’s Wonderland 04 Self-Portrait in Three Colours

PERSONNEL

Track 01 by Shafi Hadi (fl) Charles Mingus (p, perc, voice) Track 04 by Charles Mingus (b) (ts) Dannie Richmond (d) Jimmy Knepper, Horace Parlan or Shafi Hadi (ts) Willie Dennis (tb) Horace Parlan (p) Phineas Newborn, Clarence Shaw (per) Dannie Richmond (d)

Recorded in , late 1957 or 1958 Recorded in New York City, May 12 1959

Tracks 02 and 03 by Charlie Mingus (b) John Handy (as) High quality digitally remastered audio of themes Booker Ervin (ts) Richard Wyands (p) written for the original soundtrack Dannie Richmond (d) © & p Jazz on Film (MOOCHIN02) 2012 Recorded in New York City, Jan 1959

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“There were no more excuses. If he could do radio show Night People, presented by improvisation around a theme involving enough to be white…”, something that's it so could we”. That was Martin Scorcese Jean Shepherd, a DJ hipster who read racial prejudice. The three central actors are reflected in the film’s central theme. There speaking about John Cassavetes’ full- poetry on Charles Mingus’ recording The siblings and are all different shades of black. were artistic parallels between Cassavetes length directorial debut Shadows (1959), Clown. He asked for listeners to donate Ben (Carruthers) is mixed race, his sister and Mingus: both had workshops that a daring experiment in intimate realism to an anti-Hollywood film about ordinary Lelia (Goldoni) is light-coloured passing for put an emphasis on ensemble interaction, and artistic non-conformity. Central to people rarely seen before in American white, while Hugh (Hurd) is totally of black with Mingus’ ensemble workshop, like Shadows is the idea of ‘identity’. Here was cinema. An admirer of 1940’s Italian Neo- origin, a serious blues-based, jazz singer Cassavetes’, also a significant element a restless, disorientated new generation realism, Cassavetes shot in his workshop, frustrated at always being second on the in the bassist’s creative process from the of war babies that didn’t speak, think or apartments as well as at night in the bill to showgirls. Besides funding, the DJ mid-1950s. The director reflected later on look like your normal 1950’s all-American Manhattan streets (in locations such as Jean Shepherd requested listeners phone their artistic connection: “He was always citizen. Cassavetes, then 29, had begun Broadway, Central Park, Times Square and in with suggestions for a musician to write torn between the two - the mathematical what promised to be a very successful the sculpture garden in the Museum of the score for Cassavetes’ new film. Charles beauty of the composition and the freedom acting career. But he lacked ambition in Modern Art) on 16mm film with a hand-held Mingus got the highest vote and having of improvisation. We had the same kind of that area. He wanted to make films, not act camera loaned to him by The Connection checked him out at a gig in Greenwich fury…” Ironically it was this that led to the in them. He wanted them made outside of director Shirley Clarke. Having no license Village Cassavetes hired him. In the 1950s, fallout in their working relationship. Mingus the Hollywood system that he detested. they were constantly looking over their Mingus had been making experimental refused to meet Cassavetes’ demands Cassavetes’ do-it-yourself, improvisatory shoulder, ready to pack up and run like hell recordings that anticipated many of the for him to improvise with his octet in a 3 approach and the raw emotion and urban if the police came by. characteristics of the modal and free period. hour session, believing he should write a feel he gave to his films would inspire He watched Cassavetes’ reels, and the complete score for the film. “You can’t write the next generation of leading American Shadow’s release coincided with the Manhattan urban milieu and interlocking a score that quickly,” Mingus said although auteurs: aside from Scorcese, Robert beginnings of the French New Wave themes of race and identity were obviously Cassavetes’ regular actor and executive Altman, Jim Jarmusch and Spike Lee also movement who saw Cassavetes as a subjects close to his heart. The racial producer Seymour Cassell said the bassist fell under his spell. Shadows would become transatlantic cousin. Scripts were developed ambiguity would have especially resonated was given months to compose something. the cornerstone of new independent from ensemble workshops and actors were with Mingus; he describes himself in the Mingus’ saxophonist on the session cinema in America. instructed to keep their real names on- Don McGlynn documentary Triumph of Shafi Hadi was to finish the job. He gave screen to develop character rather than the Underdog as ‘”…half black man, half Cassavetes just what he wanted, an entirely Cassavetes raised funds for the film on a plot. The film has its origins in a workshop yellow, not even white enough, not light improvised ‘stream of consciousness’

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soliloquy that gave the kind of running drum jam led by Dannie Richmond, in some of how we really act with others in real commentary on the characters that ways reminiscent of Yusef Lateef. Played life situations. One of the central figures Cassavetes was looking for. had in its entire form through a party scene, is Ben Carruthers, a jazz trumpeter who done the same for French director Louis shrieks and yowls from a voice (Mingus) never practises. Instead he mooches about Malle’s Lift to the Scaffold just the year and flute (Shafi Hadi) punctuate the scene’s aimlessly with his hipster pals looking before. In many respects Davis would have more volatile moments. Out of the rest of for kicks, checking out chicks in bars and been the obvious candidate for Shadows. Mingus’ original sessions written for the getting into a ruck with their boyfriends. However Cassavetes would later comment, film (recorded mostly in early 1958) are a His sister Lelia hangs out with beat “in those days we were…very pure. At first few themes Mingus would later expand intellectuals and at one of their parties she we were going to use Miles Davis but then on, rearrange and rerecord in early 1959 meets Tony (Ray) who she falls in love with. he signed to and I got so (January and May) for subsequent album Not realising the pale skinned Lelia is of angry I didn’t want to use him”. Davis also releases Jazz Portraits and Ah-Um. The African-American descent, Ray’s confused came at a price that would certainly have most well known of these is ‘Nostalgia yet hostile feelings come to the surface outstripped Cassavetes’ meagre budget. in Times Square’ , (later adapted into a when Leila’s darker brother Hugh appears. vocalese ‘Strollin’’), while the sumptuous Mingus’ octet for the original recording ballad ‘Alice’s Wonderland’ - with an Shot over a 10 week period in 1957, was made up of pianist Horace Parlan absolute peach of a sax solo by the then Cassavetes completed what became the and Phineas Newborn, saxophonist Curtis emerging alto player John Handy - was original ‘long lost’ version (fairly recently Porter and Shafi Hadi, trombonist Jimmy intended for the love scene. It later became discovered by Cassavetes’ biographer Ray Knepper, percussionist Clarence Shaw the song ‘Diane’. Allegedly inspired by the Carney and screened at the Rotterdam Film and Mingus’ lynchpin drummer Dannie film’s plot, it was Mingus’ portrait of “a girl Festival in 2004 though Cassavetes’ widow Richmond. In the end there is fragmentary trying to make it in this big rough world like and actress Gina Rowlands saw to it there and scant use of this recording on the I am.” was no official release). It was presented film. The original recordings by both Hadi as an ‘experiment’ at a showcase in Paris and Mingus' band are still unreleased The central performances in Shadows in November 1958 but Cassavetes pulled aside from one track, ‘Untitled Percussion are mesmerizing; they are ‘amateur’ but it immediately, having gauged from the Shafi Hadi Composition’, a sparse ritualistic African vulnerable and lifelike, some reflection audience reaction that the film was “cold

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and intellectual”, the reverse of his original intentions. Some of the Mingus tracks can be heard on the ‘original’ - Lelia outlines the dreamy theme from ‘Self-Portrait in Three Colours’ on the piano in a party scene – it didn’t make the official second version released in 1959. For this version that we can see today, Cassavetes retained only a small portion of the original, shot new scenes, some scripted, and made extensive editing and added Hadi’s sax soliloquies. But the last frame left over from the first version still said, ‘The film you have just seen was an improvisation’. It wasn’t but Cassavetes could also have been using the word improvisation in the way a jazz musician at the time would, spontaneity that occurs within a context of structure and rehearsal. The film had evolved from Cassavetes’ Drama He was always torn between the two - the Workshop in 1957 out of a collective dialogue that enabled actors to bounce off one another. Cassavetes would stick to this unique process mathematical beauty of the composition and for his later independent films including the classic Faces. But first he had to resort to acting the freedom of improvisation. We had the again, playing hipster jazz pianist and private TV detective Johnny Staccato just to pay the same kind of fury…” Cassavetes on Mingus bills. But it’s Cassavetes to whom American film would eventually owe a much larger debt.

Lelia Goldoni & Ben Carruthers as themselves

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THE CONNECTION (1961)

Music by Freddie Redd CD5 The original score from the film of director Shirley Clarke

05 Who Killed Cock Robin 06 Wigglin’ 07 Music Forever 08 Time to Smile 09 Theme for Sister Salvation 10 Jim Dunn’s Dilemma 11 O.D. PERSONNEL

Freddie Redd Quartet Jackie McLean (as) Freddie Redd (p) Mike Mattos (b) (d)

Recorded at the , Englewood Cliffs, New Jersey on February 15 1960

High quality digitally remastered music from the original soundtrack

© & p Jazz on Film (MOOCHIN02) 2012

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As with John Cassavetes, the radically her about jazz. The Connection, she also takes a pop at independent filmmaker Shirley Clarke’s the perceived objectivity of fly-on-the- pioneering work as a low budget, taboo- Clarke’s director of photography Arthur J. wall cinema. It’s about a naïve, amateur breaking ‘realist’ would have a lasting Ornitz shot it for peanuts in a squalid room filmmaker attempting to film a documentary impact on independent American cinema. that emulated the loft apartment of the about heroin addicts. His search for She was an ex-dancer, from a wealthy Living Theatre in which Gelber’s play was ‘realism’ is frustrated by the addicts’ New York family, inspired by absurdist staged. She would use pretty much the refusal to act like ‘freaks’. To know a junky theatre and Italian neo-realism, and fired same actors and script too. The musicians he must become one himself. The addicts up by the liberating spirit of bebop and had roles in the play so the music was made up of actors and musicians, four of beat literature. She identified with the entirely ‘diegetic’, and played live. The film each, wait in a room for their ‘connection’, outsider in her most significant films. They caused a scandal with its candid illustration a slick operator known as Cowboy (Carl looked to expose the underexposed, of the sordid reality of drugs dependency. Lee). As a consequence the apartment has to reveal the stark, personal truths of It became a hit at Cannes Film Festival at its own house band. The backdrop of live African-Americans, homosexuals, women, which Clarke attended with beat writers improvisation is a rarity in scores. The Bud and junkies. For The Connection (1961), including Allen Ginsberg. But Clarke’s high Powell-influenced pianist Freddie Redd is considered her most important work, add hopes were dashed on returning home the composer, but he leads an improvising the jazz musician to that list. It was a film to New York when it was instantly denied quartet featuring Jackie McLean, one of that was asking questions about whether a screening license mainly due to the the leading alto saxophonists, ‘realism’ can authentically be represented repeated use of the word ‘shit’ to mean in a period just prior to moving into more on the screen or not. This was her primary heroin. By the time it was officially released advanced territory, alongside two lesser- reason for approaching Jack Gelber to two years later after an extensive court known sidemen, bassist Michael Mattos (his The Connection adapt his controversial off-Broadway play battle, it had lost much of its timely impact. only known recording) and drummer Larry to celluloid. She had an interest too in both Ritchie, who had previously recorded with the heroin user and black jazz musician’s Clarke, who died in 1997, remained an Mclean. There was no one on the set who exile from mainstream American society, unsung figure in a new wave of anti- knew that way of life better than McLean even though she knew nothing about establishment cinema in America right (heroin addiction was rife among jazz Jackie McLean in drugs firsthand and Gelber would educate at the cusp of the 1960s. However in musicians at the time). During the period

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of filming the saxophonist was banned having been a sideman in groups led by the altered moods from the yearning and was to go on to make another film with from playing in New York clubs due to his Art Farmer and . He made edginess of withdrawal through to the a jazz subject: the sadly still unavailable previous narcotics convictions. McLean’s just one more album in 1957 for Riverside intense arousal and sense of relief at finally The Cool World (1963) set in a Harlem two year period working in the acting before Gary Goodrow, a musician on the taking a hit. ghetto with a score written by the pianist cooperative at helped who plays Ernie the Mal Waldron. Freddie Redd’s music for in his own rehabilitation and continued frustrated musician in the film, let him The only other music we hear on the her debut The Connection is timeless, the presence on the scene. know about Gelber’s play. Redd’s quartet soundtrack is an excerpt from bop paragon film much less so. But it just might give us had played the same parts in the theatre Charlie Parker’s Buzzy on a vinyl record a more direct route into the soul of this Redd’s quartet had all appeared in for two years and this must account for the that’s played onscreen by an odd, Samuel halcyon period of jazz than any Hollywood Gelber’s original play that ran from 1959- great ease with which they play themselves Beckett-like mute character who makes biopic ever could. 61 in the Living Theatre. The recording was on the screen. The non-musicians on the two fleeting visits to the apartment. For made during that time. Following its huge other hand were theatre actors, and while the play Gelber had originally planned success in NYC the play went over to LA, they hog the dialogue, the music plays an to feature musicians playing just Parker’s with providing the score important role in reflecting the emotional music until Redd persuaded him otherwise. (two tracks of which resurfaced on the 1961 mood swings and claustrophobia. Jackie McLean who years later became an Blue Note album Dexter Calling), then to educator and drug counsellor, recalled in Europe. There were near riots at a short- A sizeable chunk of the film is devoted an interview how The Connection was ‘like lived London residency – interestingly to the quartet playing live. Recorded for a real hunk of life, it was way ahead of its Jackie McLean has put this down to the Blue Note in February 1960, the session time.’ London audience’s inability to relate to was the first of three by Redd for the the sordid nature of obtaining drugs in label recorded that year. Redd writes in a Although one of the group overdoses New York since the drug was available on classic hard bop style for the most part. towards the film’s ending there’s no tragic prescription in London at the time, and not McLean’s woozy, pungent, vocalised sax conclusion, no melodramatic climax. It’s a banned until 1968. improvisations brilliantly echo the intense day in the life. The sense of redemption you feeling of claustrophobia at the heart of get from ’s Frankie Machine Born in New York City in 1928, Redd made the film. That Redd designed the themes doing cold turkey in The Man With the Shirley Clarke his recording debut in 1955 on Prestige to fit the narrative of the play is evident in Golden Arm doesn’t happen here. Clarke

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Original concept & design by Jason Lee Lazell Foreword by Jon Newey ALSO AVAILABLE...

Design by Jo Cole at Clear Sound & Vision Manufactured by Clear Sound & Vision Jazz on Film...Film Noir (5-CD box set) Special thanks to Will Appleyard, Jo Cole and Karen Jolly at CSV, Ian Matthews for the website, Jon Newey at Jazzwise Magazine, The firstfi rst set in the Jazz on Film series David Nathan of the National Jazz Archive, Ross Lipman of the Collected together for the firstfi rst time... UCLA Film and Television Archive, Marvin Lichtner, Dennis Doros at Milestone Films, Martin Humphries at the Cinema Museum, A Streetcar Named Desire (Alex North) Julian Siegel, Iman Kakai Lazell and Anu Ahas. Private Hell 36 (Leith Stevens) The Man with the Golden Arm () (Elmer Bernstein/) Touch of Evil (Henry Mancini) Anatomy of A Murder (Duke Ellington) Odds Against Tomorrow (John Lewis)

Includes: A 52-page colour booklet with in-depth sleeve notes by ‘Jazz On Film’ writer Selwyn Harris and foreword by International jazz trumpeter and composer Guy Barker “Seven masterpieces of the art of the Film Noir Soundtrack” MOJO MAGAZINE “Seven masterpieces of the art of the Film Noir Soundtrack” MOJO***** MAGAZINE *****“An unmissable item with the best mastering you can get” BBC MUSIC MAGAZINE “An unmissable item with the best mastering you can get” For further updates on new releases please go to BBC***** MUSIC MAGAZINE www.moochinabout.com *****

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Image: John Cassavetes with Shafi Hadi recording the score for Shadows © Marvin Lichtner/The Cinema Museum

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