Mass effect 3 soundtracks
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More recently, director Damien Chazelle’s award-winning 2014 film, Whiplash (about a young jazz conservatory drummer and his tyrannical tutor), left an indelible impression on audiences around the world.
#Mass effect 3 soundtracks movie
You could still find jazz-heavy movie soundtracks in the 80s ( The Cotton Club, Round Midnight, Bird, The Fabulous Baker Boys) and 90s ( Naked Lunch, Mo’ Better Blues, Dingo, Kansas City, Sweet & Low). And who could forget ex- Supreme Diana Ross playing Billie Holiday in 1973’s Lady Sings The Blues? Jazz was also used in movies during the 70s to create authentic-sounding and sometimes nostalgic musical backdrops for period dramas, exemplified by Jerry Goldsmith’s evocative score to Polanski’s Chinatown, set in the 30s, and David Shire’s music for the 40s detective thriller, Farewell, My Lovely. In the late 60s and 70s, jazz composers such as Lalo Schifrin and Quincy Jones fused R&B and funk with jazz to create a new and exciting kind of action-movie soundtrack that was hugely influential. When the 60s came along, jazz’s popularity rapidly diminished due to the rise of pop and, later, rock music, but there were still some scores that ranked alongside the best jazz soundtracks, including Paris Blues (with music by Duke Ellington), The Servant (a British movie with a soundtrack by London saxophonist/composer Johnny Dankworth), and the 1966 British blockbuster Alfie, whose score was penned and played by American saxophone heavyweight Sonny Rollins. Homicide was also on the menu in another noted jazz-infused French movie, Louis Malle’s Ascenseur Pour L’Echafaud, with Miles Davis on his first soundtrack duty. These were movies that used jazz in a highly stylized way to create tension and atmosphere, but they also helped to establish an association between jazz and criminal activity, which was also reinforced in Martial Solal’s vibrant score to French director Jean-Luc Goddard’s 1959 classic new-wave film, À Bout De Souffle, about a pathological thief who commits a murder. Elmer Bernstein was a master of the 50s film noir soundtrack, and his exceptional work graced two of that decade’s most impactful jazz-influenced movies, The Man With The Golden Arm and Sweet Smell Of Success. The 50s was also a decade when movie composers began to use the language of bebop-influenced jazz to create darker, more intense and highly textural musical backdrops in crime and thriller movies – a genre that inspired some of the best jazz soundtracks of the era. Another notable pseudo-biopic at that time was Pete Kelly’s Blues (1955), which, set in the 20s, also told the story of a fictional horn blower. A more authentic taste of jazz as performed by African-American singers and musicians could be found in St Louis Blues (a 1929 short starring blues singer Bessie Smith), Paradise In Harlem (1939), Cabin In The Sky (1943) and the lesser-known New Orleans (1947), fronted by Louis Armstrong and Billie Holiday.īut jazz-themed movies featuring African-Americans in starring roles were the exception rather than the rule, and in the 50s, biopics of white jazz musicians had become all the rage: there was The Glenn Miller Story in 1954, followed two years later by The Benny Goodman Story, while 1950’s Young Man With A Horn, starring Kirk Douglas as a troubled but talented trumpeter, was inspired by the life of Bix Beiderbecke. Other notable jazz-oriented movies in that decade included Alexander’s Rag Time Band (1939), featuring the music of noted songwriter Irving Berlin.īut they represented Hollywood’s toned-down version of jazz, diluted for mass consumption by a white audience.
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When the New Orleans-style jazz of the 20s gave way to the big-band swing era of the 30s, Hollywood reflected the trend in such movies as King Of Jazz (1930), which focused on the music of then “hot” bandleader Paul Whiteman and his orchestra, and Born To Dance (1936), about a Broadway dancer, starring Eleanor Powell and James Stewart. Though in musical terms it featured very little of what we recognize today as jazz, it began a long and often fruitful relationship between jazz and the cinema, with many of the best jazz soundtracks now recognised as classic albums in their own right. In fact, the very first full-length motion picture with synchronized sound was 1927’s groundbreaking flick The Jazz Singer, starring Al Jolson. Scott Fitzgerald described as the Jazz Age coincided with the demise of silent movies and the birth of talking pictures in the late 20s.