laohu
02-24-2015, 03:21 AM
Jazz on Film - Crime Jazz! (2014, FLAC)
Music From
Mickey Spillane's Mike Hammer (1984) [TV Series]
Checkmate (1960) [TV Series]
Shotgun Slade (1959) [TV Series]
Mr. Lucky (1959) [TV Series]
The Untouchables (1959) [TV Series]
Johnny Staccato (1959) [TV Series]
Hawaiian Eye (1959) [TV Series]
Bourbon Street Beat (1959) [TV Series]
Peter Gunn (1958) [TV Series]
Naked City (1958) [TV Series]
77 Sunset Strip (1958) [TV Series]
M Squad (1957) [TV Series]
Richard Diamond, Private Detective (1957) [TV Series]
https://mega.co.nz/#!6ZwR2RqZ!1VmLbX7IOktU05fcqokk-8VhbrXm_QUKngRPAJQW57Q
http://s09.flagcounter.com/count/5pU9/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_170/viewers_0/labels_1/pageviews_1/flags_0/ (http://info.flagcounter.com/5pU9)
---------- Post added at 02:21 AM ---------- Previous post was at 02:21 AM ----------
Film scholar David Butler reckons that by the early 1950s movie jazz had become “a convenient way to impart specific meanings to the audience.” In particular, jazz served as a cinematic signal for sex and violence. Hollywood habitually associated this music with crime and if not crime then vice and if not vice then at least delinquency or degeneracy of some sort. In movies and TV, jazz accompanied the entire sordid range of police-blotter behavior, from gambling, prostitution and drug addiction to theft, assault, murder and capital punishment.
During the remainder of the decade, Hollywood’s hothouse of havoc cultivated a full-grown (some would say overgrown) musical subspecies. Ultimately, crime jazz was a developmental dead end, one of those branches on the evolutionary tree that led nowhere. Yet this infertile offshoot gave 1950s jazz a notoriety that was impossible to ignore. For jazz, however briefly, crime paid.
‘Crime jazz captured the mood not only of our post-war cities, but of a character as distinctly American as the cowboy – that soulful, solitary seeker of justice, the private eye.’
Remastered and collected here for the first time in their entirity this Unique and rare collection showcases some of the finest music and memorable U.S TV shows of a generation…
Introducing for the first time ever on CD!
CHECKMATE ~ JOHNNY WILLIAMS ORCHESTRA
SHOTGUN SLADE ~ STANLEY WILSON ORCHESTRA
THE NAKED CITY ~ GEORGE DUNING
RICHARD DIAMOND ~ PETE RUGOLO
BOURBON STREET BEAT ~ DON RALKE
The box set also includes:
77 SUNSET STRIP & HAWAIIAN EYE ~ WARREN BARKER
M~SQUAD ~ STANLEY WILSON
STACCATO ~ ELMER BERNSTEIN
MICKEY’S SPILLANES MIKE HAMMER ~ STAN PURDY ORCHESTRA
MUSIC FROM MIKE HAMMER ~ SKIP MARTIN
THE UNTOUCHABLES ~ NELSON RIDDLE
PETER GUNN & MR LUCKY & MR LUCKY GOES LATIN ~ HENRY MANCINI
The 1950’s a new style of musical score was introduced to film soundtracks & T.V… Previously, film music meant sweeping orchestral themes or traditional Broadway-style musicals. With the growing popularity of bebop and hard bop as the sound of urban cool, studios began latching onto the now beat as a way to make their movies seem gritty or “street.” Jazz was used for all sorts of film and television shows, it seemed to meld best with stories of danger—hard-nosed detective tales, studies of urban corruption, or spy thrillers.
Music From
Mickey Spillane's Mike Hammer (1984) [TV Series]
Checkmate (1960) [TV Series]
Shotgun Slade (1959) [TV Series]
Mr. Lucky (1959) [TV Series]
The Untouchables (1959) [TV Series]
Johnny Staccato (1959) [TV Series]
Hawaiian Eye (1959) [TV Series]
Bourbon Street Beat (1959) [TV Series]
Peter Gunn (1958) [TV Series]
Naked City (1958) [TV Series]
77 Sunset Strip (1958) [TV Series]
M Squad (1957) [TV Series]
Richard Diamond, Private Detective (1957) [TV Series]
https://mega.co.nz/#!6ZwR2RqZ!1VmLbX7IOktU05fcqokk-8VhbrXm_QUKngRPAJQW57Q
http://s09.flagcounter.com/count/5pU9/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_170/viewers_0/labels_1/pageviews_1/flags_0/ (http://info.flagcounter.com/5pU9)
---------- Post added at 02:21 AM ---------- Previous post was at 02:21 AM ----------
Film scholar David Butler reckons that by the early 1950s movie jazz had become “a convenient way to impart specific meanings to the audience.” In particular, jazz served as a cinematic signal for sex and violence. Hollywood habitually associated this music with crime and if not crime then vice and if not vice then at least delinquency or degeneracy of some sort. In movies and TV, jazz accompanied the entire sordid range of police-blotter behavior, from gambling, prostitution and drug addiction to theft, assault, murder and capital punishment.
During the remainder of the decade, Hollywood’s hothouse of havoc cultivated a full-grown (some would say overgrown) musical subspecies. Ultimately, crime jazz was a developmental dead end, one of those branches on the evolutionary tree that led nowhere. Yet this infertile offshoot gave 1950s jazz a notoriety that was impossible to ignore. For jazz, however briefly, crime paid.
‘Crime jazz captured the mood not only of our post-war cities, but of a character as distinctly American as the cowboy – that soulful, solitary seeker of justice, the private eye.’
Remastered and collected here for the first time in their entirity this Unique and rare collection showcases some of the finest music and memorable U.S TV shows of a generation…
Introducing for the first time ever on CD!
CHECKMATE ~ JOHNNY WILLIAMS ORCHESTRA
SHOTGUN SLADE ~ STANLEY WILSON ORCHESTRA
THE NAKED CITY ~ GEORGE DUNING
RICHARD DIAMOND ~ PETE RUGOLO
BOURBON STREET BEAT ~ DON RALKE
The box set also includes:
77 SUNSET STRIP & HAWAIIAN EYE ~ WARREN BARKER
M~SQUAD ~ STANLEY WILSON
STACCATO ~ ELMER BERNSTEIN
MICKEY’S SPILLANES MIKE HAMMER ~ STAN PURDY ORCHESTRA
MUSIC FROM MIKE HAMMER ~ SKIP MARTIN
THE UNTOUCHABLES ~ NELSON RIDDLE
PETER GUNN & MR LUCKY & MR LUCKY GOES LATIN ~ HENRY MANCINI
The 1950’s a new style of musical score was introduced to film soundtracks & T.V… Previously, film music meant sweeping orchestral themes or traditional Broadway-style musicals. With the growing popularity of bebop and hard bop as the sound of urban cool, studios began latching onto the now beat as a way to make their movies seem gritty or “street.” Jazz was used for all sorts of film and television shows, it seemed to meld best with stories of danger—hard-nosed detective tales, studies of urban corruption, or spy thrillers.