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Home , Bob Enevoldsen, Bob Gordon (saxophonist), Bud Shank, Bullitt (soundtrack), Carson Smith (musician), Conte Candoli

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Cover star: in the opening shot of The Man with the Golden Arm

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FOREWORD

I’ve always had an attraction to the films of the 1940s and 50s, particularly film noir, more than likely brought about by my father who was a stuntman. I remember him explaining to me, frame by frame, how they did the car chase in which I found fascinating. But the more I watched these films at the cinema and on TV, the more I started to feel a strong connection with the music not only because of the atmosphere created and its storytelling qualities but also because these scores were written by master musicians who seem to have a chameleon- type quality - they were completely at home either writing for symphony orchestras, big bands or small ensembles. The people that are represented in this box set are complete masters of the craft. This was a world where there were no samplers and ; it all relied on their firm grasp of as well as the brilliant musicianship of the instrumentalists, who performed this music with all the emotion required. The way that and wrote the score for , of course it has their stamp all over it but you do sense a slightly different angle because they’re creating music to tell a story. But even though they adhere to the rules required for the storytelling aspect of the film there is still a sense of freedom and their personal voice still shines through very clearly. So what are the main ingredients for a true film noir? It’s dark, it’s late, it’s raining, there’s bad stuff going on, so the obvious connection that people made with that was the dark, smoky atmosphere of the jazz club. What better music to accompany that than the sound of a glorious bit of orchestration with that jazz-tinged element to it. Of course this marriage might seem obvious In loving memory of and some might refer to it as something of a cliché now, but these elements do blend together so well and in the case of these scores, they act as clear signposts to let you know where Rita Lazell you are and what’s going on. I’ve found that these great and the whole film noir atmosphere have inspired me greatly in my own work. I hope you find the music on this box set as inspiring as I do.

Guy Barker and trumpeter

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with a new, more brooding kind of urban melodrama. The new heroes of tinseltown were hopelessly degenerate underworld characters who hung around the kind of joint in which you could hear stride , bluesy horns and frenzied rhythms. The earliest American noirs of the 1940s have jazz coming out of sleazy saloon bars, jukeboxes, and on the vinyl spinning revolutions per minute on the Femme Fatale’s gramophone. Alfred Newman, as the musical director on the pioneering fi lmmaker Elias Kazan’s -set noir thriller Panic in the Streets (1950), was one of the fi rst to look to jazz for establishing a INTRODUCTION sense of location and ethnic identity. But Alex North, a

Previous to fi lm noir, the role of jazz in Hollywood was recent arrival to fi lm composing, went much further than above all to entertain. The better-known artists Newman on A Streetcar Named Desire (1951), another from the 1930s were the pop stars of the day and their Kazan fi lm also set in New Orleans and released the music had as much draw at the movie box offi ce as the following year to huge acclaim. It was the very fi rst score leading screen idols themselves. But then a post-world in which jazz had at least equal status to the ‘romantic’ war hangover changed all that. The communist witch- concert music that had always dominated Hollywood hunts and the widespread blacklisting that followed were soundtracks. North might have opened the fl oodgates to rock Hollywood to its core and the dark stuff ended up for those composers looking to integrate jazz into fi lm, feeding into the movies that were being made. Meanwhile but it was still a matter of them waiting for the right jazz had also turned a new corner in the late 1940s, and opportunity to come along. A young so too its relationship with fi lm. Now swept underground found the perfect excuse in Sinatra’s wannabe with the end of the swing era, jazz began an association in The Man with the Golden Arm (1955). And

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then for (1957), he shared the draws his inspiration for the score from the writing credits with percussionist . A jazz ‘low’ art of culture rather than the ‘high’ composer proper Duke Ellington’s score for Anatomy of art of concert hall music. Jazz with an Afro-Cuban feel sits a Murder (1959) the following year gave credibility to the happily alongside some sonically sparkling takes on the idea that a revival was coming via your local popular instrumental sounds of the day with everything cinema. This big band music though wasn’t for dancing from jive R&B through to burlesque and lounge music. In nor was it intended as a distraction. It was often as hard- a later 1998 revision of the filmfi lm edited entirely to match hitting as the fifilms lms it soundtracked. Leith Stevens, on his Orson Welles’ initial instructions, Mancini’s kaleidoscope score for the lesser-known B movie noir Private Hell 36 of sounds plays tricks with the audience – is what we’re (1954) hired the classy West coast bop trumpeter Shorty hearing ‘diegetic’ (music that seems to originate from Rogers to fifine-tune ne-tune the . The score was, and a source within the filmfi lm world) or ‘non-diegetic’(music still is, something of a rarity in Hollywood cinema; here that seems to originate from a source outside of the filmfi lm world)? Is it real or is it fantasy? Great cinema as with great jazz can heighten our awareness of both.

Selwyn Harris were ensemble charts generously sprinkled with the then in-sound of bop, or rather the alternative ‘cooler’ heat of Jazzwise Magazine fi lm writer its West coast cousin. leader and pianist dipped into a contemporary classical chamber music palette for his understated, ambient and meticulously designed music for Odds Against Tomorrow (1959), lending encouragement to ’s notion of a new genre he had dubbed , that bridged the gap between jazz and . The score for Orson Welles’ Touch of Evil(1958), a fifilm lm generally considered as the last classic of the original noir era, is the flflip ip side of that musical coin. Its composer

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A STREETCAR NAMED DESIRE (1951)

Music by: Alex North CD1 The original score from the film of director Elia Kazan

01 Streetcar 02 Four Deuces 03 Belle Reeve 04 Blanche 05 Della Robia Blue 06 Flores Para Los Muertos (Flowers for the Dead) 07 Mania 08 Lust 09 Soliloquy 10 Redemption PERSONNEL

Featuring: Conducted for orchestra by Ray Heindorf Ziggy Elman, Larry Sullivan () Hoyt Bohannon () High quality digitally remastered music Archie Rosate () from the original sound track Les Robinson (alto sax) Babe Russin (tenor sax) © & p Jazz on Film (MOOCHIN01) 2011

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jazz, was one of the things that had helped “That’s a wild record... If to whet Miles’ appetite. In 1951, the year in which A Streetcar Named Desire was anybody is going to be able released, scores largely indebted to 19th The tension between to write for strings in the jazz century European romantic music still had a firm grip on Hollywood and North doesn’t the ‘old’ and the by any means abandon this. But he injects idiom or something near to it it with a generous dose of ‘hot’, undiluted African-American jazz to an extent that was ‘new’ world is also it’ll be North.” () unheard of in film music up until that time. Never one to offer praise lightly, one of the great twentieth century musical It’s worth noting that playing on the mirrored in the visionaries Miles Davis was nevertheless score are a number of veteran swing era full of admiration for Alex North and his musicians who were still under the contract original score to director Elia Kazan’s of Warner Bros Music Department (part of score, North pitting subversive melodrama A Streetcar Named the then ailing Hollywood ‘studio system’) Desire. He made the comment in an headed by Ray Heindorf, who oversaw the epic grandeur interview in Downbeat magazine in 1955, North’s work as well as conducting the four years following the film’s release. At orchestra. Among the personnel were the time Miles hadn’t yet hooked up with key members of the most celebrated big of European concert the masterful arranger to make bands in the 1930-40s, including tenor that luminous trilogy of symphonic-meets- saxophonist Babe Russin and trumpeter cool-bop recordings of the late 1950s Ziggy Elman (), who hall music against beginning with Miles Ahead and ending plays the trumpet melody in the sultry, with Sketches of Spain. It could well be that -drenched opening title ‘Streetcar’, the more earthy North’s inspired craftsmanship, in binding and the alto saxophonist Les Robinson together European orchestral music and (Artie Shaw). (Note too that the clarinet an authentic slice of New Orleans-derived soloist Archie Rosate once shadowed Elia dimensions of jazz.

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Kazan’s solos in a rare bit of acting by the North’s background was as much about jazz and Kazan were to battle constantly with visit to her younger sister Stella (Kim director, playing the part of a musician in as it was classical. As a young man in producers in an effort to preserve the Hunter) who is also Stanley’s wife, at their 1941’s Blues in the Night). While the title 1930s, he studied at the illustrious Juilliard true essence of the original Broadway rundown apartment in New Orleans. The theme, ‘Streetcar’ centres on an unusual School in , before travelling version of the play. Although many scenes cultivated English school teacher Blanche bluesy strings melody, sleazy brass riffs to his family’s native Russia to study at a have since been restored, the film proved a looks terrified as she rushes through the and prowling swing rhythms, North also Moscow conservatory. He was homesick minefield of controversy and it was heavily French Quarter of the New Orleans red finds room for more intimate jazz ensemble for jazz though, and returned to the US censored by the Hollywood Production light district, the unmistakable wailing settings on ‘Four Deuces’ and ‘Lust’. Both where Benny Goodman commissioned Code on its original release. As a result and orgiastic sound of early collectively tracks are marked by drowsy, yet slyly him to write a clarinet concerto, in which, Kazan was forced to tone down the racier improvised jazz coming out of the Four intoxicating solos by the trumpet and it was said he attempted, ‘to simulate and more provocative scenes; references Deuces cafe. Brando’s naturalistic acting reed players, all of them delivered with jazz in a classical structure’. He met Elia to homosexuality, rape and nymphomania couldn’t be more different to Vivien Leigh’s an understanding of the way in which Kazan while writing incidental music for in the original play were edited out. That old-school, camped-up theatrics but their pitch bends and smears could be used theatre, and they first worked together being so, there was enough remaining of scenes together have a magical quality as a deeply expressive art in jazz rather on a Broadway stage play of Death of the original play’s raw physical energy and about them. The tension between the ‘old’ than a stylized accessory. The score draws a Salesman, a Pulitzer Prize winner of erotic tension to change forever the way in and the ‘new’ world is also mirrored in the inspiration from Duke Ellington’s early 1948. Kazan successfully staged many of which sex and desire would be represented score, North pitting the epic grandeur of ensembles as well as original New Orleans Tennessee Williams’ plays, but adapted just in the cinema in the future. Marlon Brando European concert hall music against the jazz - the latter experiencing a revival in two to the screen, the other being Baby was the instigator and his star was born more earthy dimensions of jazz. A Streetcar the 1940s, the decade in which the original Doll (1956). Although A Streetcar Named playing macho hothead Stanley Kowalski. Named Desire went on to win 4 Oscars Tennessee Williams play is set. North’s A Desire isn’t a crime thriller and so has A Streetcar Named Desire made Brando and a further 8 nominations, one of them Streetcar Named Desire would give the red never been recognized as bona fide noir as the new poster boy of an alternative deservedly going to Alex North, the first of light to Elmer Bernstein and Leith Stevens, such, it could be said to have some of the ‘psychological realist’ school of acting (one 14 nominations in a long and fruitful career. composers who according to a key genre’s distinctive traits. The film’s German that is still very influential today) known as With the second half of the 20th century collaborator, the jazz trumpeter/arranger expressionist-inspired photography, seedy ‘The Method’, and Elia Kazan was his guru. now under way, North had provided a , were just waiting for the urban setting and its general atmosphere tantalising glimpse of a potential new role right moment to get jazz onto a score. of moral and social decadence are all The story begins with Blanche DuBois for jazz in the cinema. It was now only a Unlike the typical film composer of the day, elements associated with noir. Williams (Vivien Leigh) paying a ‘permanent’ matter of time before it would catch on.

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PRIVATE HELL 36 (1954)

Music by Leith Stevens CD1 The original score from the film of director

11 Private Hell 36 12 Havana Interlude 13 Easy Mood 14 Daddy, long Legs 15 Joshua PERSONNEL 16 Lilli 17 Dance of the Lilliputian , Charlie Grifford, () 18 Private Blues Shorty Rogers, Carlton MacBeth (trumpet) (drums) , (trombone) (valve trombone) Contributing arrangements and George Roberts (bass trombone) by Shorty Rogers Sal Franzella (clarinet, alto sax) (alto sax) Recorded in Hollywood, September 1954 , (tenor sax) (bass clarinet, baritone sax) High quality digitally remastered music (bass sax) from the original soundtrack () Paul Sarmento () © & p Jazz on Film (MOOCHIN01) 2011 (piano)

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Private Hell 36 (1954) might warrant little house band, where he cut some sides more than a footnote in the history of film for the Vocalion label. He relocated to noir, but it was one of the very first to follow Hollywood in 1939, and was soon writing the example set by A Streetcar Named music for B movies, the most well-known of Desire in featuring a score inspired by jazz. these being The Wild One (1953), another It’s an early effort by director Don Siegel pioneering score to feature jazz, starring “...it [the music] always whose credits also include the juvenile Marlon Brando as a leather-clad motorcycle gangland flick (1956) rebel. For both that film and Private Hell comes from a legitimate (that featured ’s proto-West 36 released the following year, Stevens Side Story symphonic jazz title theme) and had hired the reputable West Coast later on, the classic 1970’s thriller Dirty trumpeter Shorty Rogers to assist with the and not an imaginary Harry. A low-budget B picture, Private Hell arrangements and orchestrations - later in 36 is typical noir: from its ominous, trashy 1957 Stevens would compose for another pulp novel title through to its archetypal group for the documentary source – an apartment characters: the fatalistic male on the The James Dean Story, an early film in the slippery slide and the irresistible Femme career of idiosyncratic director Robert Fatale who lends him a helping hand. Leith Altman. With the demise of the swing radio, a jukebox in a car. Stevens is the composer and as with Alex era in the late 1940s, jazz musicians on North, there was a jazz pedigree. Stevens the West Coast found themselves short A car crashes over the was ahead of his time in that he was a of work. But with the breakup of the musical chameleon of sorts, something studio system combined with the arrival that would later become the norm for a film of competition from television, Hollywood cliff, killing a driver, and composer. A classical child prodigy who producers began to tighten their belts. This worked for the Opera Company in worked to the jazz musicians’ advantage, the 1930s, Stevens transferred to New York as they were less costly to hire and had out of the deathly silence to work for CBS Radio later that decade as sightreading skills comparable to their an arranger and conductor for its swing orchestral counterparts. The band on the we hear a jump tune.” (Leith Stevens)

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original soundtrack includes a top notch in the score, something that filmmakers that these elememts could have come bar. Cal and Jack go on a chase after the cast of LA jazzmen such as Jimmy Guiffre, normally liked to steer well clear of. But the from a more direct source as well. Along suspect’s car, until it crashes over a cliff. Shelly Manne, Pete Candoli, Lenny Niehaus downside of this is the entirely anonymous with forward-looking film composers at Spotting a once-in-a-lifetime opportunity and Bud Shank. ‘background’ role the score has in the film, the time such as Miklós Rózsa and Leonard to give Lilli what she wants, Cal decides to most likely the reason why it is much less Rosenman, Stevens was already looking to pocket some of the million found Private Hell 36 is unique compared to well-known than its importance in jazz invest film music with harsher rhythms and next to the dead man. Jack reluctantly other films of its time in that there are no score history might otherwise suggest. a pungent, expressionistic tonal palette becomes his accomplice. They stash the traditional Hollywood strings sequences Nevertheless, played in isolation from the typical of the newer trends in twentieth money in a no. 36 rented trailer that will and it is largely based on the jazz of the film, Stevens’ music becomes something century concert music. become their own private hell. This was moment: or more accurately else entirely: an irresistibly stylish, warm one of the later films in ’s career; its cooler cousin from the sunnier coast. and tuneful set of colourfully arranged The story is based on the now familiar bad a starlet of the early noir era, hers is a name Aside perhaps from the opening title track, post-Birth of the Cool ensemble jazz, shot cop-good cop motif. Cal (Steve Cochran) is that might be familiar to jazz fans for being Stevens doesn’t attempt to mickey-mouse through with influences that are drawn the -style loose cannon and Jack the title of a classic composition written or even crank up the emotion or drama from both Afro-Cuban and the modernist (Howard Duff), the honest, devoted family in homage to the actress by the maverick on the screen. This is something unusual classical idiom. The music of bandleader man. They are partners in a tiny precinct Californian pianist/bandleader . for a melodrama of this period. Instead, in the 1950s has been cited by of the LAPD. Cal accidentally comes upon Director Don Siegel himself dismissed the Stevens developed his musical ideas all the some writers as a major inspiration behind a robbery at a store, and a counterfeit film in his autobiography and it’s hard to way through the length of scenes. He was this specific type of cross-fertilization that 50 dollar bill found at the scene is linked argue a great case for it. Its lack of success able to do this, he said, because, “...it [the was becoming common in noir-jazz scores. to a New York homicide. The trail leads at the box office also contributed to putting music] always comes from a legitimate and In the early part of that decade Shorty to a faded bar singer Lilli played by Ida Filmmakers, its production company, out of not an imaginary source – an apartment Rogers (who contributed arrangements to Lupino, (also the film’s co-producer and business. However the lack of recognition radio, a jukebox in a car. A car crashes The Man with the Golden Arm as well as scriptwriter), who received the stolen bill as for Stevens’ music is undeserved and likely over the cliff, killing a driver, and out of this score) was Kenton’s principal arranger a tip. Cal falls for Lilli but he’s a poorly paid to be down to its rather passive role in an the deathly silence we hear a jump tune.” in his ‘progressive’ Innovations Orchestra cop and she’s only interested in love that obscure, B flat feature that hasn’t acquired An advantage of this kind of ‘at source’ that combined elements of 20th century comes with fur and diamonds. At a race the kind of cult status attributed to many or ‘diegetic’ music is that Stevens was composition, latin and big band jazz. track, Lilli eventually identifies the mystery other low-budget noirs of the period. able to feature improvisational passages Having said that, it seems equally likely man who tipped her the 50 bucks at the

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THE MAN WITH THE GOLDEN ARM (1955)

Music by Elmer Bernstein CD2 The original score from the film of director Otto Preminger PERSONNEL

01 Clark Street , Bob Fleming, Buddy Shorty Rogers and his Giants: The Top Childers, Ray Linn, Cecil Reed (trumpet) Homecoming , Harry Betts, Jimmy Henderson, Shorty Rogers, (solo:03, 09) Antek’s Albert Anderson, George Roberts (tbone) Pete Candoli (solo:01) (trumpet & 02 Zosh , Ted Nash, Jerome Kasper flugelhorn) 03 Frankie Machine (saxes) Milt Bernhart, (solo: 09) 04 The Fix Martin Ruderman, Sylvia Ruderman (flute) (trombone) 05 Molly Arnold Koblentz (oboe) Jimmy Giuffre, , Bud Shank, 06 Breakup Jack Marsh, Fowler Friedlander () Bob Cooper (reeds) Flight Mitchell Lurie, Nick Fera (clarinet) Ralph Pena (double bass) Louie's Joseph Eger, Arthur Frantz, Dick Perissi Shelly Manne (solo:09) (drums) Burlesque (French horn) 07 Sunday Morning Sam Rice (tuba) Jazz arrangements by Shorty Rogers 08 Desperation Chauncey Haines (novachord) Orchestrations by Fred Steiner 09 Audition Anatol Kaminsky, Israel Baker () 10 The Cure Milton Thomas, Philip Goldberg (viola) Recorded in Hollywood, Sept-Dec 1955 Withdrawal Armand Kaproff (cello) Cold Ray Turner, , (piano) High quality digitally remastered music Morning Joe Mondragon, Abe Luboff (acoustic from the original soundtrack double bass) 11 Finale , Lee Previn (percussion) © & p Jazz on Film (MOOCHIN01) 2011

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Arm doesn’t go all the way though: the While jazz is scenery in the score is not wall-to-wall jazz by any means, film Private Hell 36, it’s the in the way in which Leith Stevens’ Private Hell 36 could more justifiably be described. explosive centrepiece of Otto Aside from drummer Shelly Manne’s drum break on the track, ‘The Cure’ in the cold Preminger’s The Man with the turkey scene towards the film’s conclusion, there is also practically nothing in the way Golden Arm (1955). of improvisation. But Bernstein’s themes are some of the most memorable musically The acclaimed director’s most notorious choreographed set pieces in the whole of melodrama was the film that put jazz cinema history. “...the effect on the whole art of film scoring firmly on the map as far as film scoring was concerned, and did much to legitimize its Because this is a film about drugs, for use as a tool of expression in American better or worse, jazz was now shorthand and on the public in general was electrifying.” cinema. Jazz was about to enter the for all that was decadent and morally consciousness of a huge new post-war ambiguous. Whether the film was really (Elmer Bernstein) audience, namely the cinema-going public, in touch with what was happening in the and on a level that had not been witnessed beat countercultural scene inhabited by since the age of swing. “...the effect on the many jazz musicians of the 1950s was whole art of film scoring and on the public another thing. Indeed the actual plot: a loose grip on reality as far as the ‘jazz life’ of a heroin addict shooting up and then in general was electrifying,” said Elmer golden-armed poker dealer just released was concerned, as does the absurdity of going cold turkey sent shockwaves Bernstein. His score also prepared the from prison attempting to go straight by there being no African-Americans starring through the uptight, puritanical American groundwork for successful TV crime series pursuing a career as a bebop drummer in a ‘jazz’ film set in the Chicago ghettos. establishment. But it also marked a key such as (that has music carries a certain irony to it for anyone who At any rate this was a film about drugs and turning point in the censorious authority of also written by Bernstein) and knows a bit about the history. Perhaps it Preminger would have his way, at least the Hollywood Code of Production, which (Henry Mancini). The Man With the Golden says something about Hollywood’s very for the most part. The graphic depiction was fast losing its grip on deciding what

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was fit for people to see. anguish,” Bernstein would later observe. away from the brash, wisecracking crooner of his Rat Pack stage shows. He took Elmer Bernstein, an unknown composer at The film is based on a novel by Nelson to ‘method’ acting for the Machine role the time, saw the main character Frankie Algren written in the late 1940s, that’s having beaten The Actor’s Studio’s chief Machine (played by Frank Sinatra) and his a favourite of jazz-loving beat writers, protagonist Marlon Brando to the part. ambitions to be a drummer as the especially Jack Kerouac. Algren’s original In preparation for the climatic cold turkey excuse he had been waiting for to get the book had a bleak ending in which the sequence, he visited a hospital to observe music onto the screen. Winning the approval protagonist committed suicide. That someone hitting their head against a wall of Preminger was surprisingly easy given the was strictly a no-go for Hollywood. So while going through the ordeal. The scene Austrian-Jewish émigré director’s hard-bitten Preminger saw it as a deal breaker: he’d in the film is soundtracked by the collage- reputation. As Stevens had done on Private have his wicked way with drugs and like, ‘The Cure’ in which the improvised Hell 36, Bernstein hired Shorty Rogers to the producers would get their more rolls of legendary West Coast drummer write jazz arrangements and orchestrations upbeat ending. Sinatra puts on a striking Shelly Manne alternate with Bartok - but to a greater extent since Bernstein performance, a convincing portrayal of and Stravinsky-influenced orchestral didn’t have a jazz background. According a fragile, starry-eyed yet tormented soul punctuations and percussive piano. Shorty to witnesses though, it was Sinatra who was slowly surrendering to his fate. Sinatra’s Rogers’ Giants (his regular band at the characteristically calling the shots in band singing career at the time was on the up: he time) appear on the screen for a later scene rehearsals. The main title ‘Clark Street’ is one had hatched a new record deal with Capitol in which Machine auditions. The drummer of the most momentous in all of soundtrack and was flaunting a man-about-town image. Shelly Manne gave lessons to Sinatra and history. Propelled by a hypnotic whirlpool of He had also reinvented himself as a serious the story goes that Rogers, who plays strings and the swagger of ominous, siren- actor, a couple of years earlier winning an himself, was nervous and kept fluffing the like horn riffs, the main theme also conjured Oscar for From Here to Eternity - although few lines he had in the scene; Sinatra, who a powerful commentary on the hunger some might compare more favourably the specialised in one-takes and apparently and desire that’s driving Frankie Machine angsty intensity of his role as an assassin wasn’t too patient with anyone who desperately towards his next fix. “There in the thriller Suddenly, a year previously, couldn’t do the same, was nevertheless are sounds in jazz – blues, wails, trumpet to that of The Man with the Golden Arm. said to have taken it nice ‘n’ easy on his Shelly Manne & Frankie Machine Shelly Manne & Frankie Machine screeches – that are perfect for expressing Anyway this is the Sinatra that’s a world jazz comrade. The audition: The audition:

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SWEET SMELL OF SUCCESS (1957)

Music by Elmer Bernstein & Chico Hamilton/ CD3 The original score from the film of director Alexander McKendrick PERSONNEL

01 The Street (Main Title) 02 Hot Dogs and Juice (Goodbye Baby) Tracks 01, 03, 04, 05, 06 07, 08, 09, 12 Armand Kaproff (cello) 03 Sidney and Susie composed and conducted for orchestra () 04 Hunsecker’s Price by Elmer Bernstein. Tracks 02, 10, 11, 13, David Frisina (violin) 05 Tropical Island Mood 15-22 composed by Chico Hamilton and/ Martin Ruderman (flute) 06 The Smear or Fred Katz. Gordon Schoneberg (oboe) 07 Toots Shor’s Blues Sinclair Lott (French horn) 08 Nite Spot Rock The Chico Hamilton Quintet: Mitchell Lurie (clarinet) 09 Susie’s Problem (reeds) Jack Marsh (bassoon) 10 Hunsecker Operates (Goodbye Baby) (guitar) (double bass) 11 Goodbye Baby Blues Fred Katz (cello) Shelly Manne (drums) 12 The Trap is Sprung (double bass) Milt Holland (percussion, vibes) 13 Love Scene (Susan -The Sage) Chico Hamilton (drums) 14 Out of Darkness Orchestrations by Leo Shuken / Jack Hayes 15 Goodbye Baby Tracks 15-22 by Chico Hamilton Quintet 16 Cheek to Chico 17 Susan the Sage Recorded in Hollywood, 1957 18 Sidney’s Theme Personnel includes: 19 Jonalah Pete Candoli (trumpet) high quality digitally remastered music 20 Jam Frank Rosolino, Lloyd Ulyate (trombone) from the original soundtrack

21 Night Beat Ted Nash, () 22 Concerto of Themes Johnny Williams, Ernie Hughes (piano) © & p Jazz on Film (MOOCHIN01) 2011 from Soundtrack of ‘Sweet Smell of Success

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If film scores could have sequels, then he took ill. this was Elmer Bernstein’s. Two years on from The Man With The Golden Arm The best lines go to the film’s two central came Sweet Smell of Success, another characters: ruthless media columnist JJ production that’s driven by Hunesecker and slimeball press agent an equally memorable brass-heavy, jazz- Sidney Falco, played respectively by Burt infused score. But they are very different Lancaster and . It was a career in other respects. While Chicago in The defining moment for Curtis, the clean-cut Man With the Golden Arm was a studio matinee idol had suddenly turned baddy. mock-up, Sweet Smell of Success is shot on But he showed he was an actor who could location between the areas of Manhattan’s do the serious stuff. Curtis is the best thing Columbus Circle and Times Square. Hence in the film, he’s a parasite, a little creep, but the British-born, ex-Ealing comedy director strangely vulnerable too and he manages Alexander MacKendrick’s first Hollywood to convincingly portray this too. Lancaster’s picture fizzes with the claustrophobic, neon- Hunsecker was loosely based, in the original lit, bustling energy of city life. Bernstein’s novelette, on the legendary opportunistic swaggering themes are essential in giving journalist Walter Winchell and together the city some of its sassy edge. Oddly, the he and Falco make a great black comedy film itself was largely overlooked in its day, double act. Falco feeds Hunsecker with “The inspiration came from even though it arguably better stands the items and gossip and in return receives test of time than Bernstein’s earlier drug- publicity for Falco’s clients. At least that’s themed melodrama. A large part of that the way it normally goes. But Hunsecker’s the picture. I saw a dark is down to writer Clifford Odets’ snappy, beloved sister has fallen in love with Chico quick-witted street-talking screenplay that Hamilton’s guitarist, and he wants Falco easily stands up today. The film was based - who has no qualms about pimping his energy in the film and that’s on a novelette by Ernest Lehman who girlfriend for a few more column inches - initially worked on the script himself before to break them up by any means possible. where I was going with that.” (Elmer Bernstein)

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That’s if he wants Hunsecker to write about Charles Lloyd, and Gabor Szabo. his clients ever again. His band performed on the pioneering documentary Jazz on a Summer’s Day in Sweet Smell of Success, as with The 1958 and as a film composer, Hamilton Man with the Golden Arm, also features went on to write a handful more scores, the a jazz musician in a pivotal role. Steve most well-known of which was for director Dallas, played by actor Martin Milner, Roman Polanski’s Repulsion (1965). Some is the ‘fictional’ guitarist in the real life tracks for Sweet Smell of Success were co- percussionist Chico Hamilton’s Quintet written with his band cellist Fred Katz, and the resident band at the Elysian club. It he had originally presented the complete seemed at some level modern jazz was score to the producers before the studio acquiring artistic credibility: the guitarist is brought in Bernstein. The Hamilton group a model of decency and integrity in a world has its own unique strain of cool-school of cutthroat opportunists and hangers-on. that mixes in baroque and Not that the image of jazz musicians as more contemporary classical music, sparse beatnik junkies and dropouts had really latin polyrhythms and hints of the kind music is not. Bernstein’s score is rather an its relationship to Hollywood film: "movies disappeared though and Chico Hamilton of eastern folk-ish melodies that were a infectious fusion of horn-riffing menace, use jazz when someone steals a car,” he has spoken in interviews of how the fixture of Hamilton’s late 1950’s groups. R&B street-jazz and elegiac Aaron Copland- said. Echoes of the themes of his two reputation of some of the jazz stars around Apart from John Pisano (a regular Hamilton like strings. “The inspiration came from landmark jazz pictures The Man with the at the time had caused the film’s producers sideman at the time) ghosting actor Steve the picture. I saw a dark energy in the film Golden Arm and Sweet Smell of Success to hire people to follow his group around Dallas’ guitar, the other members of Chico’s and that’s where I was going with that,” (not forgetting the Johnny Staccato TV for six months while they were touring to band play cameos in the film including the Bernstein said. But in what would become series that run from 1959-60) could be check if they were clean. Hamilton had led flautist/reeds player Paul Horn, Fred Katz a spectacularly successful career in film, he heard later at least in the titles he wrote for a number of quintets from 1955-65 and and the double bassist Carson Smith. would soon move away from jazz. Perhaps The Rat Race (1960) and Walk on the Wild is known in jazz circles as something of a Hamilton’s ensemble’s tender, thoughtful this was partly down to his disillusionment Side (1962). But nothing he did would ever talent spotter, among his sideman at one and generally low-key music is also about at the way his 1950s scores had had a big again rival the sheer exhilaration of those time or another were a young , interaction, all the things Bernstein’s hand in stereotyping and codifying jazz in 1950’s jazz-inspired scores.

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TOUCH OF EVIL (1958)

Music by Henry Mancini CD4 The original score from the film of director Orson Welles

01 Main Title 02 Borderline Montuna PERSONNEL 03 Strollin’ Blues 04 Orson Around Gene LaFreniere, Don Linder, Ray Sherman (piano soloist) 05 Reflection Robert Goodrich, Ray Linn, , Rollie Bundock (double bass) 06 Tana’s Theme Pete Candoli () Ralph Collier, Shelly Manne (drums) 07 Flashing Nuisance John Stanley, Bruce Squires, Jack Constanzo (bongos soloist) 08 Something for Susan Milt Bernhardt, H.L. Menge, Karl De Mike Pacheco ( soloist) 09 The Boss Karske () 10 Rock Me To Sleep John Graas, Eugene Sherry (French Horn) Orchestrations by Fred Steiner 11 The Big Drag Arthur C Smith, Ethmer Roten Jr (flute) Conducted for orchestra by 12 Ku Ku Blake Reynold, Alan Harding, Karl Leaf Joseph Gershenson 13 Son of Raunchy (clarinet) additional arrangements by Russ Garcia 14 Lease Breaker Lloyd Hilderbrand (bassoon) 15 Background for Murder (tenor sax soloist) Recorded in , January 1958 16 Barroom Rock (baritone sax soloist) 17 Pigeon Caged John DeSoto, : vibes soloist High quality digitally remastered music 18 Blue Pianola Allan Reus (guitar) from the original soundtrack (guitar, soloist) 19 The Chase Marvin Ashpaugh, Lyman Gandes (piano) © & p Jazz on Film (MOOCHIN01) 2011

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For too long it was a buried classic. Part of Welles’ initial request was for jazz through to surf, R&B, rock n roll, doo one after the other in a musical collage, each Orson Welles’ Touch of Evil is now widely Mancini’s music to be, “a jazz-type score, wop and Spanish-Mexican music. In the one leaping out onto the streets to hang in regarded as the last vintage noir. But what sort of Afro-Cuban jazz” based on, “music opening scene, the different tracks appear the air for a while, only to evaporate as the should have gone off with a bang, hit the colour not movement...”, but used naturally cinemas in 1958 as the lame second act on as if coming from sound sources within the a double bill. Its iconoclastic director-actor film. He wanted the kind of music that had already disowned it, sending out a 58- would be playing in the kind of places in page memo to the studio criticising the final which the film was set. Welles instructed cut (which included shooting of additional the studios that a conventional score scenes) and requesting extensive editorial would not be appropriate. Writing in his changes. Until then Welles was having autobiography, Mancini had an explanation nothing to do with it. Neither were cinema as to why Welles had this unorthodox goers and it lay on a B-Movie scrap heap approach to scoring the picture. “... Since right up until 1998 when the celebrated he was making a grimly realistic film, I think sound designer Walter Murch (who would he reasoned that even the music had to be later create an incredible aural montage for rooted in reality.” At least in the audience’s “... Since he was making the film The Conversation (1970)) restored perception, the large bulk of the music the film according to Welles' original would be coming out of cafés, bars, car prescription. The great auteur didn’t live radios and from Marlene Dietrich’s pianola. a grimly realistic film, I to see his work as he might have originally intended but its status in film history has Touch of Evil is a cop thriller with an increased remarkably. The significance of underlying theme concerned with the think he reasoned that the film is richly deserved but it wouldn’t crossing of boundaries: racial, cultural and be the same without composer Henry moral ones. Add Mancini’s music to that list Mancini’s score, with its fifties’ jukebox too: a collective melting pot of the popular even the music had to and street sounds that are hip to instrumental street music of the period: Orson Welles’ ethereal noir underworld. from mambo and small group swing-bop be rooted in reality.” (Henry Mancini)

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camera moves away and the next one kicks Vargas inevitably don’t see eye to eye. for some of the material in Touch of Pink Panther and Breakfast at Tiffany’s in. The film is set on the immigration check Racial tensions are raised when Quinlan Evil. Welles had also made a jazz film in and the TV series Peter Gunn, all part of a between Mexico and America but filmed pins the Linnekar murder on the Mexican 1942, bringing (with whom successful partnership in the late 1950s-60s on location in Venice, California, chosen boyfriend of the dead man’s daughter. As he was once involved romantically) Louis with director Blake Edwards. His populist by Welles for its look of desolation and Vargas makes inquires into a more likely Armstrong and Duke Ellington together streak had always dented his credibility decay, and a vehicle for some breathtaking explanation, Quinlan plants evidence on for a short docu-drama. The four part film in the ‘serious’ jazz world, rather unfairly black-and-white noir cinematography. This the young Mexican in an attempt to frame It’s all True included The Story of Jazz that since Mancini knew his jazz and for Touch is apparent in one of the most unique and him. Vargas concentrates on proving featured a groundbreaking all-black cast; a of Evil was indebted most, he said, to the unforgettable opening scenes. Within a his Mexican compatriot’s innocence and watered-down version resurfaced in Arthur ‘progressive’ jazz orchestras of bandleader wide panoramic frame, a non-stop three- exposing Quinlan’s corruption, but in the Lubin’s New Orleans (1949). Stan Kenton. This is backed up by his minute tracking shot follows off-duty process neglects his wife who is in danger choice of the percussionist dream team Mexican narcotics official Ramon Vargas from the family of a drug-dealing Mexican The score for Touch of Evil was Mancini’s of ex-Kenton sidemen ‘Mr Bongo’ Jack (played by a semi-blacked up Charlton mobster out for revenge on the Mexican major breakthrough in film. He had started Constanzo and conguero Mike Pacheco Heston) and his American newlywed Susie officer. Susie is abducted in a desolate his career in big bands, contributing who keep the score brimming with (Janet Leigh) as they cross the Mexican motel, a scenario that Alfred Hitchcock piano and arrangements for ’s suspenseful Afro-Cuban grooves on tracks border into the States. They stop to kiss. would reinvent for a far more vulnerable Glen Miller Orchestra in the 1940s. Being including the title, its thematic variation Suddenly there’s a huge explosion; a big Janet Leigh character two years later in influenced by the bands of Ellington, ‘Background Murder’ and ‘The Boss’, with American tycoon Rudi Linnekar has been Psycho. Basie and Goodman - the closest he the rich bottom end of Mancini’s horn blown up in his car. Based on an unused came recording-wise to big band jazz was arrangements looming over a crackling B movie script that was in turn based on The issues of race in Touch of Evil were of arguably The Blues and the Beat released percussion section. A cast of top-drawer a Whit Masterson novel entitled Badge of special interest to Welles who was an active in 1960 - Mancini was to play a significant West Coast musicians including Plas Evil, the film’s blunt sardonic dialogue hails campaigner for civil rights throughout his role in opening jazz up to a wider audience Johnson, Red Norvo, Barney Kessel and from the pulp school of crime novels. The life. In the 1940s just before directing through TV as well as cinema. But Touch Pete Candoli play some perfectly succinct hard-boiled, crooked US police chief Hank his acclaimed masterpiece Citizen Kane, of Evil has a more brooding quality than solos, but it’s the exhilarating sound Quinlan, played by Welles, is filled out in a Welles produced a radio play concerning we’re used to hearing from the hugely Mancini draws from the whole orchestra fat suit and facial prosthetics. Him and the a political protest against a racist group prolific composer who’s better known for that’s the biggest draw on what would be sophisticated, rule-abiding Mexican officer on the Mexican border, a likely source memorable kitsch jazz classics such as The his first of many film scores.

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ANATOMY OF A MURDER (1959)

Music by Duke Ellington CD5 The original score from the film of director Otto Preminger PERSONNEL

01 Main Title Duke Ellington and his Orchestra: Billy Strayhorn (celeste, piano) (solo: 10) and Anatomy of a Murder Jimmy Woode (double bass) 02 Flirtibird Duke Ellington (piano) (solos: 01,05) James Johnson (drums) 03 Way Early Subtone (celeste) (solo: 10) The P.I. Five (track 11) 04 Hero to Zero : (solo: 06) : 05 Low Key Lightly (solo: 13), (trumpet) (solo) 06 Happy Anatomy (solo: 08,13) Clark Terry, Jimmy Hamilton (clarinet, tenor sax) (solo) (Band-Movie) (trumpet) Duke Ellington (piano) 07 Midnight Indigo Ray Nance (trumpet, violin) (solos: 01,05) Jimmy Woode (double bass) 08 Almost Cried Johnny Hodges (alto sax) (solos: 02,12) James Johnson (drums) (studio) (clarinet) (solos: 03) (alto 09 Sunswept Sunday sax) Conducted for orchestra by Gerald Wilson 10 Grace Valse (tenor sax) 11 Happy Anatomy (solos: 01,04,06) Recorded in LA, June 1959 (P.I Five) (clarinet, baritone sax) 12 Haupe (solo: 04) (bass clarinet) High quality digitally remastered music 13 Upper and Outest Jimmy Hamilton (clarinet) (solos: 01,04,09) from the original soundtrack (tenor sax) , (tbone) © p Jazz on Film (MOOCHIN01) 2011 & John Sanders (valve trombone)

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In the 1940s and early 50s, the director best Motion Picture Soundtrack though Otto Preminger made gripping character- oddly there was no Oscar nomination led noirs of real depth: Laura, Where the out of the film’s total of seven. It’s not Wynton Marsalis declared Sidewalk Ends and Angel Face count only one of the very first full-scale large among them. But one of his greatest and jazz ensemble scores but also one of the most controversial films came right at the first to be trusted to a recognized jazz it as, “the [Ellington] end of the original noir era: Anatomy of composer. Ellington had made no secret of a Murder (1959) is a fictional courtroom his ambitions to write a score for a feature with the most drama about a rape trial taking place in film in the past, and racial motives can by a sleepy rural American backwater. As no means be ruled out on why his name with his The Man with the Golden Arm was passed over on various occasions. mature sound of the before it, Preminger would again look at But it could also be that Ellington was a subject that was strictly taboo. This time viewed as an elder statesman of jazz in though the controversy was all about what the 1950s when jazz started to appear in band...an incredible work was being said on the screen rather than scores, and represented in some ways a what was being injected. Anatomy of a more frivolous, pre-noir Hollywood jazz Murder’s fruity vocabulary, at least for age. At least until the Ellington band’s of art, one of the most a 1950's cinema audience, led to bans in triumphant concert at the 1956 Newport several US cities on its release. Besides Festival, that single-handedly revitalised important ever in jazz.” introducing a few new words to film such his career. At the time he had also been as ‘slut’ ‘sperm’, and an incriminating pair recording a series of extended conceptual of ‘panties’, the film title itself is a smart works that in many ways had a natural link metaphor for the alleged sexual crime at to film composition’s theme-and-variation the centre of the trial. structure and stylistic flexibility. Ellington’s Marsalis, to be among his finest works. He debut wasn’t by any means the first time he music for Anatomy of a Murder initially declared it as, “the album with the most had been seen or heard on the big screen The great jazz composer, pianist, arranger received a mixed reception, but is now mature sound of the band...an incredible though. From the 1920s- 40s, Ellington had and bandleader Duke Ellington wrote the considered by some, including America’s work of art, one of the most important appeared in several ‘jazz’ films one of the score, and deservedly won a Grammy for most famous living jazz trumpeter Wynton ever in jazz.” Ellington’s full-length film most significant Black and Tan (1929), was

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one of the first to challenge the demeaning punctuations into the burst of bluesy horn not if Laura continues to play the part of solo. It acts as a backdrop to the judge’s stereotypes that was required of African riffs over a loping James Johnson groove the alluring seductress. Laura’s highly early Sunday morning stroll to the library, Americans actors if they wanted a part for the main ‘Anatomy of a Murder’ title. flirtatious behaviour seems to imply that and a reminder that this is really about in a Hollywood film. In an early scene in But the lunging theme gradually reduces she has either asked for it or that the a humdrum backwater in (the Anatomy of a Murder Ellington plays a brief to a whisper as Ellington exchanges the rape didn’t occur at all. Politically correct whole film was shot on location) in which cameo as the hep cat Pie Eye who’s band PI odd vamp on piano with Jimmy Woode’s it is not. When Laura appears on screen the contented purr of small-town life will Five know exactly how to get a roadhouse double bass to reflect the opening scene to some characteristically luxurious continue as normal, murder or no murder. jumpin’, and James Stewart is the extra of rural domesticity in which we are playing from the great alto saxophonist James Stewart as Polly pair of hands on the piano sitting in with introduced to the central character James Johnny Hodges on the track ‘Flirtibird’, James Stewart as Polly Ellington for a version of ‘Happy Anatomy’ “Polly” Biegler, a lawyer and amateur jazz it looks and sounds like a match made in with Ray Nance, Jimmy Hamilton, Jimmy pianist played by James Stewart (ghosted film score heaven. The second half takes Woode and Jimmy Johnson also appearing on the film by Ellington). Stewart’s Polly is place in a courtroom as Biegler sets on screen. unconventional, and jazz represents this. about trying to prove the Lieutenant was “Polly, you’re a good lawyer, you ought to ‘temporarily insane’ at the time of murder. Preminger had been thinking about make like one…not out fishing and playing An absorbing and suspenseful courtroom Ellington as far back as 1941. He had that rootie tootie jazz!” exclaims his elderly battle then commences in which Biegler pencilled in his composition ‘Sophisticated alcoholic law school mentor Parnell Emmett pits his wits against a cunning big city Lady’ as the title theme for Laura though McCarthy. prosecutor played by George C. Scott, eventually decided to go with David who kick started his acting career in a Raskin’s standard-to-be. For Preminger, Biegler is preparing a case for the defence mesmerizing performance. Throughout jazz always had to justify its inclusion on the of an ex-Korean soldier Lieutenant Manion the courtroom drama there is practically screen. The entrance it makes here is hard (Ben Gazzara), who’s been charged with no music apart from the track, ‘Sunswept to beat and as with Preminger’s earlier The murder. Manion has already confessed to Sunday’, a hymnal, strangely sentimental Man with the Golden Arm, it accompanies killing the man who allegedly raped his vignette, that pays tribute to the sleepy designer Saul Bass’ iconic credits. The wife Laura, the femme fatale of the setup American south. It has Ellington playing ‘Main Title’ shifts through the gear played by Lee Remick. But Biegler thinks a pretty motif on celeste underneath a changes from some unsettling wind-brass he can get him off with manslaughter. But wistful yet raw Jimmy Hamilton clarinet

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ODDS AGAINST TOMORROW (1959)

Music by John Lewis CD5 The original score from the film of director

14 Prelude to Odds Against Tomorrow 15 A Cold Wind is Blowing 16 Five Figure People Crossing Paths 17 How to Frame Pigeons 18 Morning Trip to Melton PERSONNEL 19 Looking at the Caper 20 Johnny Ingram’s Possessions Featuring: Ruth Berman (harp) 21 The Carousel Incident (piano) Walter Rosenberger (percussion) 22 Skating in Central Park Jim Hall (guitar) Richard Horowitz () 23 No Happiness for Slater () Harvey Shapiro, Joseph Tekula (cello) 24 Main Theme: (double bass) Odds Against Tomorrow (drums) Conducted for orchestra by John Lewis 25 Games John Ware, Melvyn Broiles, , Recorded in New York, June 1959 26 Social Call Joe Wilder (trumpet, flugelhorn) 27 The Impractical Man Gunther Schuller, Paul Ingram, Al Richman, High quality digitally remastered music 28 Advance on Melton Raymonde Alonge (French horn) from the original soundtrack 29 Waiting Around the River Thomas McIntosh, John Clark (trombone)

© p 30 The Caper Failure Harvey Phillips (tuba) & Jazz on Film (MOOCHIN01) 2011 31 Postlude Robert DiDomenica (flute)

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Another 1950s noir, another jazz score Anticipating the kind of smart (not just of whistle after him. Based on a novel by (although not just any old jazz score) and the mind but sartorially) black dude played William P. McGivern, the script written by yet more controversy with a capital C. In by Sidney Poitier in the 1960s, Harry the great blacklisted noir screenwriter the same year as Preminger’s courtroom Belafonte was the first African-American (who had to go missing drama Anatomy of a Murder came director actor to take a lead role in a noir. He stars from the credits) pulls no punches: “You Robert Wise’s Odds Against Tomorrow as Johnny Ingram, a Harlem blues singer and your big white brothers. It’s their (1959). The central theme this time is and vibraphonist who owes far too much world and you’re just living in it,” Johnny racism, but essentially it’s the way it’s money to a mobster for comfort. barks at his estranged wife, criticising her handled - both imaginatively and without attempts to assimilate into the middle-class sentiment - that makes this classy noir Belafonte made his name as a singer of establishment. But Johnny faces his biggest one of the most daring films of its time. calypso, but one of his earliest appearances battle with an unpredictably psychotic was fronting a group led by pioneering redneck going by the name of Earle Slater, bebop saxophonist . His played with brilliantly understated menace singing however was just a means to pay by noir legend . Johnny and his way into acting school. Following his Earle find themselves having to put their success in the lead role in another Otto hostilities aside, at least to start with, when Preminger film, the all-black musical they are hired by a bitter ex-cop Dave Carmen Jones (1954), Belafonte started Burke (Ed Begley) to hold up a bank. Gunther Schuller has described Lewis’ to put money into films that had some personal resonance for him. One of those The film’s director Robert Wise was no was Odds Against Tomorrow; the racially stranger to adding jazz to his films. His score, “as utilizing jazz music as a explosive theme appealed to Belafonte, I Want to Live! (1958) starring Susan being a very vocal campaigner on civil Hayward boasted a pulsating Johnny purely dramatic music to underline a rights issues. But the film also provided Mandel score performed by and co-starring him with a meaty acting role: Johnny is a luminary west coast line up that included tough, sharp-tongued with a real touch of baritone saxophonist . variety of situations not specifically class about him, even provoking a brother He’s better known though for the hit film related to jazz”. working as an elevator attendant to wolf musicals West Side Story and Sound of as Johnny Harry Belafonte as Johnny

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Music. John Lewis, the pianist with the utilizing jazz music as a purely dramatic and drummer Connie Kay’s understated Modern Jazz Quartet composed the music music to underline a variety of situations rhythms remind us that swing doesn’t have for Odds Against Tomorrow. Lewis wasn’t not specifically related to jazz”. The score to be explicit to be effective. entirely new to writing for films having is a low-key yet penetrating work that previously composed the music for a combines elements of twentieth century Odds Against Tomorrow is beautifully rarely seen French feature Sait-On Jamais classical chamber music – it has touches shot on location in New York and Melton (aka No Sun In Venice) in 1957. But Odds of Stravinsky for sure - with those of Town (the scene of the robbery) in eerie Against Tomorrow was his most influential modern jazz. Arrangements are built on silvery grey-whites that makes for some score; proto-French New Wave director a principle of less-is-more; Lewis uses his of the most striking symbolism ever seen Jean Pierre Melville was infatuated with it, 20-plus chamber orchestra as a fine artist in noir. Take the opening scene in which urging the composers he hired to imitate would a palette of colours, using subtle the racist Slater’s demonic, ghostly figure its delicate sense of ensemble colour for mixes of light and shade rather than more strides down a street in the howling wind his 1960s-70s ‘garlic gangster’ films. familiar melodramatic signposts to create accompanied by the equally spooky, ‘A and release tension. Milt Jackson provides Cold Wind is Blowing’. The director Wise The score for Odds Against Tomorrow vibes on the eerie title track, ‘Prelude...’, however took to parks and rural backwaters could be described as a Third Stream work and its legendary pianist Bill Evans (a as filming locations rather than sticking written for orchestra and jazz ensemble. central player on Miles Davis’ similarly to the more familiar shadowy, neon-lit Gunther Schuller, coined the term Third jazz-minimalist Kind of Blue the very same city streets of noir – hence we get a light Stream in 1957 for a new genre that year) who plays on the crisply swinging waltz ‘Skating in Central Park’, featuring an bridged the gap between jazz and classical ‘Social Call’, while fellow pianist Lewis was engaging vibes improv by Milt Jackson, a music, and Lewis became very involved busy directing the orchestra in the studio. tune that became a popular , with Schuller in its evolution. Schuller The score also features the idiosyncratic and that was recorded later on this score recorded with Lewis, on the late 1940’s guitarist Jim Hall, and it has his economical contributors’ Bill Evans and Jim Hall’s classic classic Birth of the Cool Sessions, (Lewis imagination stamped all over it especially 1963 duo album Undercurrents. Lewis’ score was a writer and key arranger on that on the crunchy soul-jazz solo he plays on shares the film’s exquisite attention to detail recording) and he plays French horn here. ‘No Happiness for Slater’. Meanwhile the with a sense of tension that’s sustained right John Lewis John Lewis Schuller has described Lewis’ score, “as Modern Jazz Quartet bassist Percy Heath up until its, literally, explosive finale.

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Original concept & design by Jason Lee Lazell Foreword by Guy Barker

Graphic design by Jo Cole at CSV and Edward Wood Manufactured by Clear Sound & Vision

Thanks go to all the above talents as well as Will ‘project manager’ Appleyard at CSV, The Crown & Two Chairmen, Jon and Stephen at Jazzwise Magazine, Julian Siegel, David Nathan at National Jazz Archive in Loughton, Andrew Howick at MPTV, Kevin Paver, COMING SOON... Charlie McIntosh, and Iman Kakai, Anu Ahas and Clive Lazell for their continued support...

Jazz on Film... The Rebels & the Beats

The second box set in the Jazz on Film series. Featuring more high quality remasters of the original scores for:

The Wild One (1953) Leith Stevens

I Want to Live (1958)

The Subterraneans (1960)

Paris Blues (1961) Duke Ellington www.moochinabout.com plus more...

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Cover star: Frank Sinatra in the opening shot of The Man with the Golden Arm

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