From Ashley Kahn's Kind of Blue (p. 65):
"In the late fifties, Hollywood was just beginning to explore
the full emotive possibilities of jazz musicians and
composers on full-feature soundtracks. The list of examples
is still awe-inspiring: Elmer Bernstein and Shorty Rogers on
1955's Man with the Golden Arm, Chico Hamilton on 1957's
Sweet Smell of Success, Duke Ellington on 1959's Anatomy of a
Murder, and Charles Mingus on 1960's Shadows. Even in
comparison with these film scores--the result of careful
planning and generous budgets (or as low budget as Ascenseur,
in the case of Cassavetes's Shadows)--Mile's one-night,
improvised accomplishments holds up, and indeed stands out
all the more."
Mark
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