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- #Music from the movie spy professional#
- #Music from the movie spy series#
- #Music from the movie spy free#
#Music from the movie spy series#
For all the intense attention and cataloging of music inspired by the years spanning the 1940s to early ’80s, crime/action jazz just wasn’t among the genres covered,” says Cheryl Pawelski in the book’s foreword.Īs it would be impossible to recreate the moods, instruments and sound effects of each movie or TV series mentioned, Bang summarizes the styles and working techniques of many famous composers/musicians to introduce their crime and spy jazz works chronologically.
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“Inspired by the shady corners, characters and cliffhangers that graced the TV shows and movies of the mid-20th century, this is the first book and discography that compiles and traces this music’s history.
#Music from the movie spy free#
And it took first class composers to successfully combine these two aspects, as hardly a moviegoer would stand experimental music or free jazz as a soundtrack for 80 minutes at the cinema.Įxtraordinary artists such as Quincy Jones, Nelson Riddle, Henry Mancini, John Barry, Elmer Bernstein, David Shire, Laurie Johnson, Pete Carpenter, Edwin Astley, Kenyon Hopkins, Lalo Schifrin, Jerry Goldsmith, Earle Hagen, Neal Hefti, John Williams, and many others who expertly used jazz licks, riffs, rhythms, and its instrumentation are reintroduced here, even though some already received academy awards for their works.Īlthough some may argue that there actually is no exact definition of “Crime and Spy Jazz,” a comprehensive discography or a study of jazz-inspired soundtracks was not available until now. The style Bang devoted this volume to, is much more complicated (as is the nature of jazz arrangements) and at the same time very easily consumable and memorable. These great soundtracks, some of them masterpieces in their own way, are not to be confused with what in the early years of this century was tagged “lounge music” and appeared on countless easy listening CDs from the vaults of the big record labels.
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Hundreds of albums and chart-placing singles emerged during those 30-ish years, and a great deal of that music is overlooked these days … along with the trends that fostered it.” serious buffs have long cherished the roughly three decades – from the early 1950s, more or less, to the early 1980s, less or more – that encountered a wealth of great stuff from veteran and up-and-coming jazz cats eager to “shade” the adventures of cops, private eyes, crusading journalists, impassioned lawyers, spies and secret agents.
#Music from the movie spy professional#
And the work for movie productions was a welcome paycheck for professional jazz musicians. Often integrated in a pattern of pop tunes and string arrangements. The scores in focus here had one thing in common: they all use techniques and rhythms mostly associated with jazz. In the early 1950s with the introduction of TV broadcasts, production companies and film studios took great care in hiring not only the best composers available, but also big bands and large classical orchestras with exceptionally good performers to record hundreds of series theme songs and film scores. “ It’s often assumed that early TV ‘crime jazz’ – a reasonably accurate designation for the music that accompanied early dramas tarring cops, sleuths and virtuous investigators from various professions – sprang from the big screen’s post-WW II fascination with the scandalous characters and seamy behavior found in Hollywood’s artfully moody film noir B pictures.” Then, in the 1950s and 60s, soundtrack composers increasingly used popular music of the decades before for police/detective/spy action productions, which would be in large part jazz, the country’s main musical attraction and dance floor magnet of only a few years earlier. The brief period of American sound film until roughly the mid-1940s was dominated by soundtracks and extradiegetic audio based on mostly sweet string orchestras, allusions to classical compositions and ballads.