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Improvising the Score
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Improvising the Score
provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers, theorizing how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production. These in-depth case studies include collaborations between Terence Blanchard and Spike Lee (
Malcolm X
,
When the Levees Broke
), Dick Hyman and Woody Allen (
Hannah and Her Sisters
), Antonio Sanchez and Alejandro Gonzalez Iñárritu (
Birdman
), and Mark Isham and Alan Rudolph (
Afterglow
). The first book of its kind, this study examines jazz artists’ work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers, as well as how they negotiate their own “creative labor” within filmmaking structures, hierarchies, and expectations. Grounded in compelling personal interviews and detailed film production analysis,
Improvising the Score
illustrates the dynamic possibilities of integrative artistic collaborations between jazz and film (as well as other contemporary media), exemplifying its ripeness for shaping and invigorating 21
st
century arts, media, and culture.
Title: Improvising the Score
Description:
Improvising the Score
provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers, theorizing how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production.
These in-depth case studies include collaborations between Terence Blanchard and Spike Lee (
Malcolm X
,
When the Levees Broke
), Dick Hyman and Woody Allen (
Hannah and Her Sisters
), Antonio Sanchez and Alejandro Gonzalez Iñárritu (
Birdman
), and Mark Isham and Alan Rudolph (
Afterglow
).
The first book of its kind, this study examines jazz artists’ work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers, as well as how they negotiate their own “creative labor” within filmmaking structures, hierarchies, and expectations.
Grounded in compelling personal interviews and detailed film production analysis,
Improvising the Score
illustrates the dynamic possibilities of integrative artistic collaborations between jazz and film (as well as other contemporary media), exemplifying its ripeness for shaping and invigorating 21
st
century arts, media, and culture.
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