Personnel:
Elmer Bernstein (arr, cond), Pete Candoli, Bud Brisbois (tp), Dick Perissi (Frh), Ted Nash (as, cl), Buddy DeFranco (cl), Dick Noel, Lloyd Ullyate (tb), George Roberts (b-tb), Buddy Collette, Gene Cipriano (reeds), Jimmy Rowles, Giovanni Caesar (p), Bob Bain (g), Red Mitchell (b), Alvin Stoller (d), Lou Singer (perc), Dorothy Remsen (harp), Brook Benton (vcl), Strings
Reference: JM 1009
Bar code: 842732847009
Two Original Soundtrack Recordings
JAZZ IN THE MOVIES presents the most celebrated scores by the composers that introduced jazz to motion pictures and television soundtracks. In addition to providing a superbly appropriate setting for dramatic scenes, all the jazz background themes were interpreted by many of the best Hollywood and New York jazz studio musicians.
Walk on the Wild Side
From its striking main title through its aching melodies, blues-inflected laments, and unapologetically romantic climaxes, the score asserts itself as one of Bernstein’s most compelling achievements. His evocation of New Orleans is neither superficial nor decorative; it is grounded in muscular rhythms, harmonically expressive writing, and unmistakably blues-shaped melodic contours. Elmer Bernstein’s music for WALK ON THE WILD SIDE has lost none of its impact. Its strength lies in stylistic confidence and emotional clarity, with the music divided between full orchestra and jazz combo, functioning as a powerful expressive device rather than a mere stylistic conceit.
The Caretakers
One of the principal strengths of THE CARETAKERS lies in Elmer Bernstein’s accomplished score. The Oscar winning composer supplies music that captures the film’s tension and dramatic jazz-inflected atmosphere, notably in cues such as “Black Straight-Jacket” and “Party in the Ward.” Elsewhere, the writing adopts a lighter, more accessible tone in pieces like “Take Care,” “Blues for a 4-String Guitar,” and the notably danceable “Birdito,” which function as a relaxed interlude marked by the evident enjoyment of the jazz musicians involved. In contrast, the latter portion of the album shifts toward more overtly dramatic, programmatic material tied to the film’s harrowing moments. Though less immediately accessible, this music is ultimately more compelling, particularly the slow, string-driven cue “The Cage.” “Electrotherapy” stands out for its effective use of tuned percussion, and the score as a whole demonstrates Bernstein’s versatility across both lighter and darker idioms.