8 Comments

  1. Hi! Tony,
    On my website,(That is undergoing semi-reno(vation) not my blogs “mind you,” but of course not!…I features links to Jazz websites and the sites that focus on the Jazz connection to Film noir.

    Personally, I Know people who can do without “Jazz” and the “Film noir connection.” and they have asked me not to “focus” on it!

    But, then why do I focus
    on it?
    Because I know there are a lot people out there that like listening to that kind of music (Jazz music).

    Dcd ;)

  2. Hi! Tony,
    Btw,
    Below is a very interesting link to a site where author Eddie Muller, is discussing “Jazz, Film noir and Charlie Hayden (I may have “mispelled” his last name…
    Haydn?!?)…among other things too!…I alway seems to
    reference this article when the subject of Jazz and Film noir are mentioned in the same breath…Plus, this article is “featured” on my website, under what else?!?
    “Film Noir and Jazz Music”…Personally,
    I find his (author Eddie Muller) “insight” about Jazz, film noir and S.F very interesting.

    http://www.sfjazz.org/news/2006/2006_may_17.html
    Dcd ;)

  3. Oops!…I did mispell his last name…it is Haden…Charlie Haden’…

    I’am so sorry about that!…
    Dcd ;)

  4. http://www.sfjazz.org/news/2006/2006_may_17.html

    Eddie Muller’s article is indeed interesting; thank you for the reference. The below quote relate jazz and 50’s noirs. Jazz was accepted experimentally. Miles Davis’ score was improvised for Elevator to the Gallows.

    Q: Are there any threads you see connecting this particular half-dozen films and their soundtracks?

    A: They’re all from the 1950s, when cultural changes and studio economics led to jazz being accepted, on a somewhat experimental basis, as viable for film scores. Jazz is an essential component of the films in this series, rather than being used to define one aspect of the mise-en-scene. As a group, these films disprove that jazz is ill-suited for film scores because of its improvisational nature. Miles Davis’s score for Elevator to the Gallows is largely improvised, but Ellington’s score for Anatomy of a Murder and John Lewis’s “third stream” score for Odds Against Tomorrow are tightly-composed. In general, and in these films specifically, jazz is used to evoke a mood rather than to manipulate the audience to feel a certain emotion. It takes confident directors to do that.

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