Re: RARA-AVIS: PI & jazz

Andrew Stancek (assumpt@worldchat.com)
Wed, 19 Nov 1997 15:46:04 -0800 Jack Saunders wrote:
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> The alto in Bernard Herrmann's score for Taxi Driver set the mo=
od for that night-falls-on-the-city atmosphere. Trouble in Mind (troubl=E9=
d mind) was pretty spooky, too. But for me, the best example of the inte=
gration of jazz and the PI novel is the movie Naked Lunch, where Ornette =
Coleman's Master Musician of Morocco improvisation complements William S.=
Burrroughs' report writer cum espionage agent.
> The rock-and-roll song at the beginning of Miami Blues wasn't b=
ad, either.
> And all the jukebox music of Barfly.
> ----------
> From: Frederick Zackel[SMTP:fzackel@bgnet.bgsu.edu]
> Sent: Wednesday, November 19, 1997 8:38 AM
> To: rara-avis@icomm.ca
> Subject: RARA-AVIS: PI & jazz
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> Delurking (or decloaking perhaps...)
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> Imagine a saxophone player at ground zero for a big city's skyline. He
> (or she) is surrounded by forty, fifty floor skyscrapers, all concrete =
and
> glass. It's after midnight, and the buildings glow like honeycombs lit
> from inside. Much of the light that hit the sidewalks is light bounced
> down from these empty offices
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> The sax man plays to no one, to everyone, but the streets are empty, an=
d
> the sounds echo and echo again off the cold, silent buildings. No one =
is
> listening, and he empties his soul....
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> In the daytime the city is a destination, a goal, a journey every
> individual is on. At night, the city is a presence, alive, a hulk in t=
he
> dark.
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> The PI is jazz; jazz is the PI.
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> Frederick Zackel
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> author of "Cocaine & Blue Eyes" and "Cinderella After Midnight"
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> ---------------------------------------------------------------
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There is a terrific sax solo at the conclusion of Francis Ford Coppola's
best film, The Conversation.
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