Jazz in Film

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Download links and information about Jazz in Film by Terence Blanchard. This album was released in 1999 and it belongs to Jazz, Theatre/Soundtrack genres. It contains 9 tracks with total duration of 01:08:16 minutes.



Artist:	Terence Blanchard
Release date:	1999
Genre:	Jazz, Theatre/Soundtrack
Tracks:	9
Duration:	01:08:16

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Tracks

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No.	Title	Length
1.	A Streetcar Named Desire (1951) (featuring Steven Mercurio, Steve Turre, Donald Harrison, Kenny Kirkland, Carl Allen, Reginald Veal)	7:55
2.	Love Theme from Chinatown (Main Title) (1974) (featuring Kenny Kirkland, Carl Allen, J. A. C. Redford, Reginald Veal)	8:23
3.	The Subterraneans (1960) (featuring Joe Henderson, Kenny Kirkland, Carl Allen, J. A. C. Redford, Reginald Veal)	9:08
4.	Anatomy of a Murder (featuring Steven Mercurio, Steve Turre, Donald Harrison, Kenny Kirkland, Carl Allen, Reginald Veal)	8:25
5.	The Pawnbroker (1965) (featuring Steven Mercurio, Donald Harrison, Kenny Kirkland, Carl Allen, Reginald Veal)	7:02
6.	Taxi Driver (1975) (featuring Joe Henderson, Kenny Kirkland, Carl Allen, J. A. C. Redford, Reginald Veal)	7:12
7.	Degas' Racing World (1968) (featuring Joe Henderson, Kenny Kirkland, Carl Allen, J. A. C. Redford, Reginald Veal)	6:57
8.	Man With the Golden Arm (1955) (featuring Joe Henderson, Steve Turre, Kenny Kirkland, Carl Allen, J. A. C. Redford, Reginald Veal)	5:13
9.	Clockers (1995) (featuring Joe Henderson, Kenny Kirkland, Carl Allen, J. A. C. Redford, Reginald Veal)	8:01

Details

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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.