Jazz in Film

1	A Streetcar Named Desire 7:55
2	Chinatown 8:23
3	The Subterraneans 9:08
4	Anatomy Of A Murder 8:25
5	The Pawnbroker 7:03
6	Taxi Driver 7:13
7	Degas' Racing World 7:57
8	Man With The Golden Arm 4:14
9	Clockers 8:01

Barnes & Noble

Terence Blanchard is no stranger to film scores, having written memorable music for Spike Lee films including "Malcolm X" and "Clockers." One of the strongest trumpeters of the Marsalis era, Blanchard, unsurprisingly, brings a decided jazz flavor to his scores. In that, he's carrying on a Hollywood tradition that he rousingly acknowledges on JAZZ IN FILM. Blanchard examines music from the jazz-inflected work of Hollywood professionals Andre Previn ("The Subterraneans"), Elmer Bernstein ("The Man with the Golden Arm"), Alex North ("A Streetcar Named Desire"), Bernard Herrmann ("Taxi Driver"), and Jerry Goldsmith ("Chinatown"), as well as three crossover figures from the jazz world: Duke Ellington, Quincy Jones, and Blanchard himself. Arranging each selection to spotlight its compositional beauty and adaptability as a genuine vehicle for jazz improvisation, Blanchard ensures success on both accounts by stocking his band with first-class players like trombonist Steve Turre, drummer Carl Allen, the late pianist Kenny Kirkland, and substantial soloists including saxophonist Donald Harrison and the magisterial tenorist Joe Henderson -- and Blanchard, of course, lets loose with impressive flights throughout the project. An inspired concept, JAZZ IN FILM gives deserving close-ups to worthy composers and jazz players alike. Steve Futterman

All Music Guide

Terence Blanchard covers classic motion picture scores with an expressive jazz trumpet and approach to straight-ahead jazz on the 1998 Sony Classical release Jazz In Film. Scores by Duke Ellington (Anatomy of a Murder), Quincy Jones (The Pawn Broker) and Jerry Goldsmith (Chinatown) are immersed in the world of jazz and resurface complete with Blanchard's imprint and eloquent style that is reminiscent of mid-'60s Miles Davis. Accompanied by contemporary jazz masters such as Kenny Kirkland, Joe Henderson and Donald Harrison, the set features the precision and emotional flair Blanchard is known for. His interpretations of Goldsmith's score from Chinatown and Martin Scorsese's Taxi Driver remain true to the original compositions. However, Blanchard's jazz execution develops and adds another dimension to the psychological turmoil their themes explore. His masterful use of a jazz ensemble with an orchestra to exemplify the music of such great composers as Elmer Bernstein (Man with the Golden Arm) exudes maturity and surpasses the excellence of his previous scoring efforts on the jazz-flavored score for Eve's Bayou. Paula Edelstein