sgcim

On the IMDB he gets credit for "Music by" and "Music Adaptations by"

The lack of reverb on Wes Montgomery's Riverside recordings was the only thing that stopped me from buying that boxed set.

Yeah, in the interview in the book, he said that "Touch of Evil was the score he was most proud of out of all his scores, definitely not light comedy or light suspense. He felt that Peter Gunn owed more to Rock and Roll than jazz.His time writing for the Tex Benecke version of the Glen Miller band got his big band writing chops together. He studied composition at Julliard, and studied privately with Krenek and Tedesco, so he was capable of writing in most styles.

AB used to work in 'the mountains' playing piano with this trumpet player I worked for. I asked him if he'd introduce me to him, but he wouldn't for some reason. The same guy also said Charles Fox was going to be at a gig we played, and then the jerk forgot to introduce me to him, when the gig came up! I just heard a Baxter score to an old horror film that knocked me out!

Yeah, there was a ton of crazy stuff going on in soundtrack LPs. You never knew what you were going to get until you saw the track listings. If the composer wanted to add some of his other tunes, he could do it for whatever reason. Then there were a number of 45s made from the score that could turn out to be hits, that were recorded by the composer, or someone like Herb Alpert, The Ventures, etc... There could be some great cues that were cut out by the director from the film, that appeared in full on the LPs. The composer could choose to use a completely different set of musicians than the ones that played on the original soundtrack. And then there were rejected scores that no one ever heard, as well as films and TV shows whose music was never heard again-for all time, because they didn't make a soundtrack LP out of it. I just read in the book that "Chinatown" had a complete score written by a different composer, that Polansky decided not to use. That left Jerry Goldsmith two weeks to write the score that was used for the film. JG didn't think the film needed a jazz score, and the only reason it was included in the book was because the trumpet player (Uan Rasey) decided to interpret the theme using a bluesy sound, which Goldsmith said was "interesting".

RIP, I liked him in Compulsion and Rapture.

Nice stuff! There's so much Mancini mentioned in the two volumes of the "Action Jazz" book,that I've made notes on every page of both volumes.Everything he wrote for TV and film is covered, and that's just in the crime and spy genres. Some Mancini we've played on gigs are Dreamsville Theme from Two For The Road Mr.Lucky There's almost no end to the jazz-based music written for film and TV, and the author goes over the ENTIRE OUTPUT of composers like Mancini and his fellow writers, like Don Ellis, Johnny Mandel, Lalo Schifrin, J'J Johnson, Quincy Jones, David Shire, Charles Bernstein, 'Johnny' Williams, Jerry Goldsmith, Oliver Nelson and on and on and on..... It startled me the other day when I passed out the parts that i had written to my arr. of a great tune by John Williams, and not one of them ever heard of it! They're limited to the same songs from the Real Books, over and over.

Happy Birthday, Houston! I'm still grateful to you and Bill Mays for saving the Phil Woods Memorial Concert from becoming a non-swinging bore.

A John Barry cue from Goldfinger- of course!

I think this is the perfect time to explain your screen name- Teasing The Korean. It's one of the few mysteries left in the world.

Oh God, he seemed indestructible. RIP, to one of the greats of all time.

He did spend time in a mental institution. A sax player I knew said they wanted him to give a performance for his fellow patients. They introduced him to the audience, telling them, "Mr. Monk is a famous jazz musician, and would like to play a concert for you today". Monk just sat up there, staring at them for a few minutes, then slammed the piano closed and yelled at them, "My dick is bigger than yours!" That was the end of the concert. I never found that in any of the books written about him. Probably circulated among musicians, like Bill Crow's stories.

I never met him, but i read his huge autobiography, "Sideman". Some friends of mine studied with him, and they'd come out of every lesson shell-shocked from the way he'd yell at them for not practicing, or not getting the lesson right. They'd drive away from his studio in silence. Another guy, who was more experienced than the above mentioned two guys, said that he reached a point where BB had taught him everything he knew, and BB would keep suggesting that he call Lennie Tristano, and start lessons with him.My friend told him he didn't want to study with LT, but BB wouldn't stop pushing Lennie on him. Finally, BB gave up and asked him who he wanted to study with, and my friend named another guitar player, and BB gave him the guy's number, and that was the last he saw of him. I know BB played guitar in the Dixieland band that was playing at the party scene in "The Hustler", but the credits of the soundtrack album list 'Joseph' Barry Galbraith as the guitar player on the rest of the score (non-diagetic music). I got the second volume of that "Crime and Spy Jazz on Screen" by Derrick Bang, and this one deals with music "Since 1971". Same format as the first, and the beginning deals with things Quincy Jones wrote for in the 70s. I'll post more about it in the Books About Jazz section. I never heard of that Jack Marshall album, but I'll look around for it. It sounds very interesting. Thanks for hipping me to it!

Part of a Kenyon Hopkins interview is quoted in his much praised score for "The Strange One", which as of this writing has not been digitized yet.He talks about the climax of the film where he says he, "uses a 12-tone technique, which I don't ordinarily use in a theatrical film." "The commercial melodies and the juke boxes and the 12-tone chase which comes at the end of the picture are all related. The theme used in the final chase is the tune called "The Strange One"12-tone form. If you listen to the album a couple of times, you can see the relationship of the whole thing". The soundtrack album allowed Hopkins to expand his cues into full-length compositions. Hopkins talks about editing out things that are just related to the action in the film. He says, "Mostly it's a matter of blending cues.We have long tails on cues in movies, so they can be mixed out. Then we just cut off those tails and put the cues next to each other, and- generally speaking- you've got development." The author goes over a number of Hopkins' scores, including The Hustler, The Yellow Canary, Mister Buddwing, and A Lovely Way to Die.

Finally finished the excellent book GA Russell recommended. The author doesn't just list the films and TV shows, and the composers and personnel; he gives you a detailed synopsis of each film, an unflinching review of the film, background on the actors, directors and composers, and gives details about each scene in the film where the music is particularly effective, or in some cases, completely inappropriate. A good example of the latter is the scene from "Satan in High Heels" where the beautiful flute cue Mundell Lowe wrote was actually for the sexy lead actress stripping, and then going skinny-dipping in a lake! If I had known that when I wrote it up for clarinetist Joe Dixon, maybe i would've come up with a more 'sensual' interpretation.. An interesting pattern emerged in French films of the fifties and early sixties.Directors would hire jazz musicians with no background in film scoring to write scores for their films, and then chop them up, to the musicians' dismay. We have musicians like Barney Wilen, Art Blakey(!), Thelonious Monk, Martial Solal,, Charlie Rouse, and others, being hired to score films, and then finding out that the directors would chop up their music into just seconds of sound that were used in various scenes. In the US, even Dizzy Gillespie, Mal Waldron and others were hired for scores for films and/or TV shows. Duke Ellington also did TV show scores (besides the well-known film score to "Anatomy of a Murder") and Count Basie even did the theme song to a TV show. In the 60s, Lalo Schifrin emerges as the crime and spy jazz king, as he builds up to his complete domination of the field with the Mission Impossible theme. He attributes the success of the theme to the fact that using a 5/4 theme left people excited, because they didn't know when the next measure would start. I was just notified by the library that the second volume of Bang's Crime and Spy Jazz On Screen has come in, but due to the pandemic, they won't be open until Tuesday. This one deals with 1971 to the present.

I thought you lived in Brooklyn. Where is everybody going?

I. Mr. sgcim was recognized for the above project, which will bring a jazz guitar performance to the Queens Theatre in Flushing Meadow Corona Park Queens at 2:30pm on October 16, 2021. Admission is free, but you have to RSVP a ticket to the 2:30pm performance.

Looks like they didn't change their mind; Moderna is going to be approved at one half the dose of the first two shots. I'm going to be a mRNA Mutant!

The only difference according to that is the time after the last shot that they're given. In my case it was seven months after my second shot. They said that it was the same dose as the other two, although I read somewhere that Moderna originally planned to give half the dose of the first two as a booster. They must have changed their mind when the Delta variant came around.

https://www.npr.org/2021/09/28/1041372956/dr-lonnie-smith-master-of-the-hammond-organ-dies-at-79

NY is a very corrupt place.The pianist in a big band I play in just gave me the address of a drug store that's giving them to people left and right. After the shot, they say, "Now you should buy all your drugs here from now on". They don't give a schist about age, but they did turn down some woman in her 30s! My friend who got the shot two weeks ago is about 60. This is the North Shore of Lawnguyland, where "Money talks", in a voice that rustled. Opening line of which great novel?

RIP, to a great organist. Hope my source is wrong.

Got my Moderna booster yesterday. Spent last night with the chills, aches, 102 fever, shaking. Feel better today, but fell asleep on the couch. a few hours ago. A friend of mine who got the Moderna two weeks ago from his doc said that the doc told him the side f/x get stronger after each shot, but they go away in about 24 hours. He said that your body starts making antibodies after only seven days, not 14 like the 18 year-old medical genius that gave me the shot in the drug store told me.

I was lucky enough to attend a concert at Carnegie Hall that featured Blacher's Variations on a Theme of Paganini. I enjoyed it greatly. I had come to hear William Walton's Second Symphony conducted by Andre Previn. Previn always programmed great modern music that was still tonal. Look for work by Arthur Honegger Howard Hanson's Second Symphony. William Walton Paul Hindemith Norman Della Joio Charles Koechlin Harold Shapero Bernard Herrmann's Symphony Shostakovich Miklos Rosza

I have multiple copies of four artists- Bernard Herrmann, Johnny Smith, Eddie Costa and Tal Farlow. With Costa, I have House of Blue Lights on LP. Then a friend of mine (and Eddie's) gave me a burnt copy of it. Then I bought the complete EC CD set Same with JS- I spent 40 years buying everything he did on vinyl. Then I bought the Mosaic set. Same with Tal- I paid $40 for a Tal LP in '72, the I spent another $20 when it first came out on CD. Then I spent another $20 on a special pressing of it that had some extra cuts on it. With Herrmann's Symphony, I bought it twice on vinyl, because the first copy was worn out. Then I bought the CD- all Unicorn, with him conducting.