ABSE....CE OF MA...CE.... Dave Grusin...

22

Th~ ... ~ FIPO... THE A.PA.RTME ....T ........ Charles Williams•.• 38

CHARADE ...... Henry Mancini•.• 43

DAYS OF W .....E A ....D ROSES ....... Henry Mancini ••• 52

D.AMO....DS ARE FOREVER ........ John Barry••• 56

Th~ ... ~ F.o... EAST OF EDE............ Leonard Rosenman.•• 30

EBB T.DE ....... Robert Maxwell . .. 62

EXPER.ME....T ..... TERROR ......... Henry Mancini... 46

THE FRE....CH CO........ECT.O.... THEME ......... Don Ellis••. 48

Th~... ~ F.-c»... THE FOX . ... ... Lalo Schifr;n• .. 68

HERE"S THAT SIJ........Y DAV ......... Patrick Williams•.• 70

..... THE HEAT OF THE .....GHT ... ... ... Quincy Jones. .• 15

.....SPECTOR C ..OIJSEAIJ THEME .... _ Henry ManCini••. 84

.T M.GHT BE VOIJ .... ... D a v e Grusin•.. 75

JAMES BO.... O THEME ... ..... Monty Norman. . . 18

LAST TA....GO ..... PAR.S ..... ... G a t o Barbieri •.• 89

..E JAZZ HOT! ........ Henry Mancini.. • 8

...TT..E BOY LOST ......... Mic hel Legrar,d... 86

( ..o~~ Th~...~ F.ou..l ST. E"MO"S FIRE ...... ... D avid Foster_ •• 106

T H E MA.... W.TH THE GOLDE.... AR1ft ....... James Van Heusen..• 1 42

THE MA.... THAT GOT AWAV .... Harol d Arlen • •. 108

mEET THE BOYS ....... H oward Sho re• • • 1 24

M'SS CE.... E .. S B ..IJES ..... Quincy J ones• • ,; 1 02

>1
MISTY .... .. Errol Gardner•. . 1 36
M OO ....G ..O W ...... . Eddie De Lange.. • '~33

MV K ..... O O F TOW........... Jimmy Van Heusen ... 1 2 8

TH E ODD COIJP..E ... . .. Neal Hefti••. 1 1 3

0 .... GREE.... DOLPH..... STREET . ..... Bronislau Kaper. •. 27

THE P.NK PA....THER ... ... ... H e nry Mancini• • . 126

..ROtJ.... O M .O..... GHT . ...... C ootie Wil liams ... 1 18

R tJBV ........ Heinz Roemh eld.•. 1 12

THE SHADOW OF VOIJ R S MI..E ...... ... J ohnny Mandel• • • 98,

THEME FROM S H AFT ... ...... Issac Hayes ••• 95

SOMETH.....G"S GOT T A G.VE ....... Johnny Mercer•• _" 80

SOPH.ST.CATED ..A DY ... ... ... Duke Ellington.••,'92

The.n~ F.o... SP... E .... DOR ..... THE GRASS ........ David Amram ... 4

S T REETCAR ... ... ... S"ee.c:.a..... au.~.d Des'.~ •.• 65

THE StJMMER K NOWS ......... Michel Legrand••• 139

THA.T"S ALL ... ... ... Bob Haymes••• 5 4

AT.ME FOR LOVE ......... J ohnny Mandel••• '59

THtJ ....DERRAL.......... John Barry•.• 50

The:u.e: F . o ... VA.LLEV OF THE 00....5 ....... Andre Previn•.. 3 5

WA.T U ....T ... DA.RK ....... Henry Mancini••• 20

V OtJ ....G AT HEART ........ Johnriy Richards.•. 32

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Ie· KNIHOVNA t,~ '7
M~STA HRADCE KMLOVE
r I[ t.,. PrOject Manager: Tony Esposito
Book Design: Ken Rehm hudehnf odd61snf
Tomkova ul c 620

't' '997 WARNER BROS. PV8UCATIONS 5 00 01 Hradec KraJove 1

Tel. 495 512 127.495 514 52

All R '9~!S <:ser.·eo

 F O.REWORD

Motion pictures and Jazz came of age in the early part of the twentieth century.

With the beginning of soUnd in motion pictures, Jazz and syncopated music played an important role as a mir­
rored reflection of fhe culture of the times.

Jazz's beginnings were in honky-tonks, night clubs, gambling dens, bordellos and cheap dance halis, It was
perceived as erotiC, low-down , vulgar and aggressive. Hollywood soon SdW the commercial potential of using
Jazz in their films.

Between 1917 and 1929 about thirty films were produced using the word "Jazz" in the title: The Jazbo Sheriff
(7918), The Jazz Monkey (1979), The Jazz Bandits (7919), A Jazzed Honeymoon (7979) and The Girl With
The Jazzed Heart (7920) just to mention a few. .

With materialism and the fast life dominating the American life-style, the film Sinners In Silk featured an ad
which was used to promote the film. It stated: "Where hymn is Jazz and whose slogan is speed. "(People
were actually paid to come up with those slogans.) In the 1923 and 1924 films, Children Of Jazz and The Fast
Life, the characters live in a wild and reckless manner and their only goal was the "Good Life," a typical
stereotype of some of the silent films of the time.

In 1927, the Warner Bros. film The Jazz Singer was the first to Use sound successfully with a synchronized a nd
music accompaniment. Sound made It possible for Hollywood to use Jazz music and its performers to an
even greater advantage. In that same year, two more films were made that used Jazz performers. They were
St. Louis Blues and Black And Tan. St. Louis Blues featured Bessie Smith and James P Johnson, who was the
leader of a band mode up of members of Fletcher Henderson 's orchestra, Block And Tan featured the Duke
Ellington Orchestra and a line of chorus girls from the Cotton Club . Both films featured all block costs.

Jazz was used frequently in films where the scenes included night d Ubs, dance halls or places where Jazz wa5
the featured source of entertainment. Many bands and performers were used as headliners in films such as
His Captive Woman (1929), Sins Of The Father (1928), Riley The Cop (1929), Thunderbolt (1929), Sing
Sinner Sing (1 933) and Girl Without A Room (1933).

In the 1930 Universal fUm, The King of Jazz, Paul Whiteman a nd his orchestrd and various Jazz artists were fec­
tured Paramount's The Big Broadcast series of 1932, 1935 and 1937 featured some great personalities suer
as Bing Crosby, Cab CoHoway, Ray Noble, The Nicholas Brothers, Bill Robinson and the 1937 version introduce ~
The Benny Goodman Orchestra.

Republic Pictures countered The Big Broadcast films with a series of Its own, They were known as The Hit
Parade films. The Hit Parade Of 7937featured the Duke Ellington Orchestra while the Ray McKinley a nd
C0unt Basle Orchestras appeared in The Hit Parczde Of r 943. The Hit Parade Of 7947 featured the first
Woody Herman herd.

A "umber of films of the 1930s and 1940s weaved :many· big bands into their story-lines; Twentieth Century Fe .
featured the Glenn Miller Bond In Sun Valley Serenade and Orchestra Wives. Benny Goodman's bond
appeared In the Warner Bros. f!!m, Hollywood Hofel. Paramount's Birth Of The Slues featured Jack
Teagarden 's orchestra. Stage Door Canteen featured the Count Basie Orchestra. Harry James and his
orcnestra appeared in the Universal film, Buck Privates. MGM's Ship Ahoy featured the Tommy Dorsey
Orchestra and the Les Brown Orchestra appeared In the RKO film , Seven.Oays Leave.

Some films were still using smaller bands, especially if the theme was about the lives of musicians or entertain­
ers. Some of the fHms were Man With A Horn, The Five Pennies and Parfs 8lues. Films based on the lives of
famous \\ BIg Band" leaders were The Glenn Miller Story a nd The. Benny Goodman Story.

The 19505 became the birthplace of the Jazz Score. It played a percussive and influential role In the social
problems that were faCing Americd. Movies were no ronger considered the great escape. Now there was
violence. alienation, sex, drugs and rebellion storing us in the face on that giant screen.
Gone wete the lush violins, the classical motifs, the swing of a carefree era. Inst$adJ we were rocked out of
oUr seats by the sounds of blasting brass, haunting saxophone riffs and the use of dissonances to which we
had to grow accustomed to . But, in time we came to understand that these sounds added to the excite­
ment of the motion picture which was trying to hold up a mirror of the soul of life as It really was.

As for qsthis writer is concerned, the first film to use a Jazz score was A streetcar Named Desire~ scored by
Alex North. The use of Jazz motifs and phrases added to the emotions that this great film evoked. Other com­
posers who wete writing Jazz scores were Benny Carter, Leith Stevens, Elmer Bernstein , David Raksln, Ray
Yeindorf. Duke Ellington, Buddy Bregman, Pete Rugalo and Shorty Rogers.

would recommend the following soundtracks If available: A streetcar Named Desire, The Glass Wall. On
The Waterfront. The Wild One, The Man With The Golden Arm, The Wild Party, Anatomy 01 A Murder, Odds
Against Tomorrow, Shadows, I Want To Live and Touch 01 Evil.

Some of the composers of the 1960s who contributed Jdzz scores to films were Lalo Schifrin, Quincy Jones, Billy
\/lay, Frank DeVoL David Amram. Andre Previn, Nelson Riddle, Eddie Sauter. Gil Melle. Gerry Mulligan. Neal
.,efti and Ralph Burns.

Some of the great soundtracks were Boy In A Tree, The Pawnbroker, The Slender Thread, In The Heal Of
The Night, In Cold Blood, The Anderson Tapes, The Cincinnati Kid, The Fox. Cool Hand Luke and Charley
Varlck.

European composers like Johnny Dankworth, Allyn Ferguson, johnny Hawksworth, Claude Bolling, Andre
-iodeir and Hubert Rostains ali contributed jazz scores to films. Some of those films are Saturday Nighi And
Sunday Morning~ The ServantJ Darling and J 0 Rillington Place.

- '"1e 1970s and 1980s featured scores by John Williams , Jerry Goldsmith, Elmer Bernstein. Michel Legrand ana
~enry Mdncini, to name a few.

-"'e 1990s featured composers such as Danny Elfm(;]n , Dave Grusin. Mark Shalmon , Randy Newman, james
-')rner anQ' Herbie Hancock, aU of whom have used Jazz motifs in some of theJr firms.

: ~metlmes d film composerWouJd be asked foprovide a seore for a motion picture: but the title song was
~igned to a popular songwriting team, A lot of those themes went on to become well known popular song
·s.

-- s book includes some of those song hits together with some themes that came out of the composer's score,
::. 'lgs like Theme From The Apartment, The French C onnection Theme, In The Heat Of The Night, Last
'ongo In PariS, The Man With The Golden Arm. The Pink Panther, Streetcar Named Desire, Thunderball,
Wait Until Dark and many more .

.) knows what's Ih store for the motion picture busir"less in the year 2000... w ill a jazz Score be completely
-=-~,:tronic,
what will the harmonies be like. what instruments will be featured, who will be the leading com­
:~ers? My feeifng is that Jazz nas· been an important part of the film industry for the past 75 years and I guess
.11 be here for the, next 75 years.

Tony EspOSito
January 1997
 4

THEME FROM "SPLENDOR IN THE GRASS"

By
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 8

LEJAZZHOT!

Words by Musíc by

LESLlE BRICUSSE ~3~

HENRYMANCINl

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 13

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 14

on ly know iťs sound - in' right. $0 come on

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play me-. Le Jazz Hot,­ ba - by,­ 'cause

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'Y'"

15
Fram the United Artists Matian Picture "IN THE HEAT OF THE NIGHT"

IN THE HEA T OF THE NIGHT

Lyrics by Music by
ALAN and MARILYN BERGMAN QUINCY JONES

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'cross my brow. _____

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1967 I]\,ITED ARTlSTS MUSIC COMPANY, INC.

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a.-d \\.-\R.\"ER BROS. PľBLlC.-\TIO\,S C.S.I\'C (Prim'

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 16

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 18

From The United Artist klotion Picture "DR. NO"

JAMES BOND THEME

Moderato By
Em MONTYNORMAN

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 20

WAIT UNTIL DARK

Wait UntU Dark

Words by Music by
JAY LlVINGSTON and RAY EV ANS HENRY MANCI:,

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dreams to - geth .. er, where our fan - ta- sies take form. _ _ __

Wait Until Dark 2 - 1 © 1967 WARNER BROS. INC. and NORTHRIDGE MUSIC. INC.

Sole selling Agent: WARNER BROS. INC.

AU Rights Reserved

 21

Bm(F#Bass) Em Em? A(C# Bass)

your near - ness in the night my dis - ap ­

L , L ., L- , L-- -, I.- -,

D7(Cq Bass) Bm?-5 E7-9 C#m-5

- ments dis - ap - pear; _ _ _ _ _ __ The cheer - less day may bring us

----------------~----~-----------

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~ ."'.l:" UN - TlL DARKI _ _ _ __ OARK1 ______________

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 22
Columbia Pictures Presents A Mirage Enterprises Production "ABSENCE OF MALICE"

ABSENCE OF MALICE
Musíc by
Allegro J= 132 DAVE GRUSL'\
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© 1981 EMI GOLD HORIZON MUSIC CORP.

Al! Rights Cantrolled by EMI GOLD HORIZON MUSIC CORP. (Publishing)

and WARNER BROS. Pl:BLlCATIONS U.S. INC. (Print)

AH Rights Reserved

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 24

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Absence of Malíce • 5 5
 27

ON GREEN DOLPHIN STREET

Music by

NED WASHINGTON and

BRONISLAU KAPER

Moderately bright samba J=138

Cmaj9 E~/C D/C D~/C
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 29

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 30

THEME FROM "EAST OF EDEN"

Music by

LEONARD ROSENMAN

Slowly

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© 1955 & 1956 WARNER BROS. INC.

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32

YOUNG AT HEART

Words by Music by

CAROLYN LEIGH JOHNNY RICHARDS

Slowly

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© 1954 CHERIO CORPORATION

© Renewed 1982 and Assigned to CAROLYN LEIGH and CHERlO CORPORATION

AH Rights Reserved

 33

Fm6 07 Fm6 07 87+5 Cl

111m 3 di imsIĎ ;I li
3

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go___ to ex - tremes_ with im - pos - si - ble schemes,_ VOU can laugh__ when your dreams_ fall a·
3

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love is eith· er in your heart or on the way._ Don't you know_ _ that U's worth__ ev· 'ry
3
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 34

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 35
Twentieth Century-Fox Presents A Mark Robson-David Weisbart Production "VAUEY OF THE DOUS"

THEME FROM "VALLEY OF THE DOLLS"

'.\'ords by Music by
:':RY PREVIN ANDRE PREVIN

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Got ta get ofť, gon - na get, have to get off from this ride;_
Got ta get off, gon - na get, out of this mer ry go ' round;_

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-~.~ '~:::-. "'\'alle\ af the Dolls" 3 1

~ 1967 VY13 ~tľSIC CORP.

All Rígh!..5 Re;erved
 36

fl ~
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how was I caught in this game?_

When will I know,
why am I lost as ? lamb? When will I know,

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where
where
will
will
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how will
how will
think of
learn who
my
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name? _ _
am? _ _

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,

When did I stop feel . ing sure, feel . -ing safe, And start

, ls this a dream? Am I here? Where are you? Tell me

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a ml a
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dream? Aru here? Where are you? Whaťs in back oť the sky?

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;',om . 'Valley of the DolIs" - 3 - 3
 38

THEME PROM THE APARTMENT

By CHARLES WILLIAMS
Moderato
r-;r---,
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Con amore
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ccm tene,.us,'!.t.I_~_

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Theme From The Aportment . 5 ·1

© 1949 by LAWRENCE WR!GHT ML'SIC CO.• LTD. Copyright Renewed
R:g::ts t::roughout tne Western Hemisphere Admínistered by EM! MILLS MUSIC. INC. (Publishing) and W ARNER BROS. PUBLICA TlONS INC. (Print)
AH Rights Reserved
6S
40

"II con calore

~J

Ira 1IlJKw.::.i:,:1l.::..,o_ - ­_ _

Animato c passionato
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Theme Frtlrn The Apartrnent " 5 " 3

 41

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44

Ams Am

we made _ _ _ __ We came on

J.

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Best on the lov - ers un ~ ti!

E+ E7 Am Dm7 07 c

Fate _ __ seemed to pull

Dm 01 c Dm? G'J

tUflled and you were gone._ __ While _ _ from the

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C}:;:-ade . J . 2
 46
EXPERIMENT IN TERROR

Theme Song from the Blake Edwards Production, a Columbia Pic ture s Release
Experiment in Terror

Moderato By HENRY MANCINI

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Experiment in Terror - 2 • 1

© 1962 (Renewed 1990) NORTHRIDGE MUSIC COMPANY

AU Rights Reserved
 48

FRENCH CONNECTION THEME

Music by
DONELLIS

-
Moderato

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French Connection Therne - 2 I

© 1972 WARNER-TAMERLANE PUBLISHING CORP.

All Rights Reserved
 50 From the United Artists Motion Picture ''THUNDERBALL''

Lyric by
DON BLACK
THUNDERBALL Music by
JOHNBARRY

•r
Medium tempo Cm Gm
Gm

1'11

..
II --"""'I 'I 1

.
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~ fal-ways _r
runs whUe oth - ers walk, He
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He
knows the mean-ing oť suc - cess, His

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whUe oth - er men just talk, He

are more so he gives less, They

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o

,
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II II
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looks
call
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at this tworld and wants it
him the i win - ner who takes
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all,
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80 he
And he
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Thun
r
der - ball.

.
,

im
D7

.a Cm Gm

An y wo-man he wants hejl!

© 1965 UNITED ARTlSTS MUSIC LTD. (UKl (Renewed)

Thunderball - 2 • 1 Al! Rights in the C.S. and Canada Administered by EMI L'NART CATALOG INC. (Publis'1ingí
and \\'AR:';ER BROS. PUBLICA TIO:';S es.
I\'C. :Print)
."-.:: Rig!'::s Re,e,.'e':
52
From the Warner Bros. Picture "DAYS OF WINE AND ROSES' 1

DAYS OP WINE AND ROSES

Lyric by
JOHNNY MERCER

REFRAIN
D9
l\Ioderate BaUad
mm mm
DAYS _ __ OF WINE AND ROS - ES _ .

run Like a Through the

Gm Gm7

mm mm
to -ward a dos.ing door, A door m,a,rked "Nev-er . more,"

Days af Wine and Rose, - 2 - I

© 1962 WARNER BROS. INC, (Renewed) Used by Permissian

AH Rights Reserved
 54

THAT'S ALL
Words and Music by
ALAN BRANDT and BOB HA .IE5

I_ C

ii
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I can 011- ly glve you love lhat lasts for-
on - ty give you coun -try walks in
A I J.J I .....

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i
Dm7

ttim
r r r
ev - el', _ __ and the prom - ise to be near each HOle you call; And
Spring-lime. _ and a hal!!. to hold when leaves be., gin to la11:

A'~I
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r r
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o o o

A fil mm II im li
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on - ly hearl I own. ror you . and you a -Ione, Thaťs all, that's all. I can

love whose 1>urn-ing Ught will warm the win - ter night, Thaťs

A I J I I I

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all. .'
There are
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those,
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I am -sure,
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who have
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told you
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they would
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Thaťs AH - 2 1

© 1953 (Renewed 1981) MIXED BAG MUSIC, INC.

AU Rights Reserved
 58 E~8 E~maj7 A7

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to me, For when love's gone, they'll lUB - tre
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Dia -monds Are For-ev - er I for - ev - er, for - ev - er. Día-monds Are For-ev -er, for­
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