Crime and Spy Jazz on Screen Since 1971: A History and Discography

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Acknowledgments vii
Foreword by Pat Irwin 1
Introduction 3
1. Do Your Thing: 1971 9
2. Blowin' Your Mind: 1972 29
3. Last Dance in Sausalito: 1973 46
4. Suite Revenge: 1974 66
5. So Smooth: 1975 83
6. God's Lonely Man: 1976 99
7. Bleak, Bad, Big City Dawn: 1977-78 109
8. That Old Feeling: 1979-81 122
9. Gumshoe Piano: 1982-84 133
10. Tequila Dreams: 1985-89 148
11. Freshly Squeezed: 1990-94 165
12. Chili Hot: 1995-99 178
13. Heartbroken: 2000-03 195
14. Sugar Plum Raid: 2004-2019 206
Epilogue 218
Appendix A: Instrument Abbreviations 221
Appendix B: Discography 222
Appendix C: Cover Artists, Compilation Albums and Box Sets 241
Chapter Notes 245
Bibliography 251
Index 253

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Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. Isaac Hayes' theme from Shaft. These iconic melodies have remained a part of the pop culture landscape since their debuts back when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made from the mid-1950s and beyond have been propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book begins with Hayes' game-changing music for Shaft, and honors the careers of traditional jazz composers who--as the 1970s gave way to the '80s and beyond--resolutely battled against the pernicious influx of synth, jukebox scores and a growing corporate disinterest in lavish ensembles. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Mort Stevens, Laurie Johnson, Mike Post, Earle Hagen, David Shire, Elmer Bernstein and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). But this is only half the story; the saga's origins are discussed in this book's companion volume, Crime and Action Jazz on Screen: 1950-1970.

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