Movie Jazz

[Dave Dolson]

Went to see Benjamin Button yesterday evening. The music was terrific, including one scene where Sidney Bechet's DEAR OLD SOUTHLAND was prominent in the background. Oh MY what a sound!!

I'm betting that not many in the audiences who see this film will know who it was or what he meant to jazz, except to marvel at the sound of his horn. DAVE

Later: I checked an Internet site and the list said the tune Bechet played was OUT OF NOWHERE. SO, I could be wrong about the tune's title but it was definitely Bechet. No one sounds like him (and the film's credits said it was performed by Sidney Bechet). DAVE

 

[sideC]

I'll have to check that out. Good to see that there's still such a thing as good musical taste.

Nice that he got credit.

 

[Gandalfe]

My wife dragged me to that movie; actually said she wanted to go so there you are. I really enjoyed the movie and the music. I did not like the ending which, without ruining it for those who've not seen it, was a bit fanciful for my tastes.

 

[Dave Dolson]

In addition to the Bechet tune, Bix Beiderbecke and Frankie Trumbauer were featured on OSTRICH WALK (as background - and credited). The whole sound track was a good one. DAVE

 

[SOTSDO]

I believe that (following some pretty infamous instances, like the non-credit for the use of Frank Sinatra's "Love And Marriage" as the theme music for Married...With Children), you will be hard pressed to find any music in a film that is not credited.

Several factors are at work here. The first is that music in movies (and by that I mean virtually all professional, non-documentary movies) is never recorded as the film is being shot. Sound balance issues mandate that sound effects and the like (including background music) are "Foley-ed" in during post production. That in turn means that someone has to get the recording to use for these purposes, and that clearly is using a recording for a commercial (rather than for a licensed for listening purpose) usage. Ignoring the rights issues here is like playing financial Russian roulette, as the folks doing M...WC discovered to their dismay.

(Most music in music-based movies is done the same way, as different camera shots spliced together in the final print cannot be synchronized with each other if the music recorded "as shot" is used. Careful observation of the actions of the hands of the players will reveal that this has been done, since nothing is 100% synchronized, no matter how careful the attempt.)

I always watch the movie credits to the bitter end when seeing a film, partially to look for the names of a few friends in the business, but also to look for music and location credits. Invariably, every bit of music that is used (even good old "Happy Birthday" and "For He's A Jolly Good Fellow") will receive credit. Bach and Beethoven, deep in their graves, must derive some pleasure from knowing that their names are "up in lights".

 

[Dave Dolson]

Terry: While the crediting process wasn't MY point, I agree with your comments about how background music is done in today's films.

Some old films actually showed the various artists in performance (Bechet, Armstrong, etc.), which is still a treat for me. But those days have gone and past, I've found out (what to do) at last . . . (lyrics from the verse to DOCTOR JAZZ). DAVE

 

[Al Stevens]

I believe that (following some pretty infamous instances, like the non-credit for the use of Frank Sinatra's "Love And Marriage" as the theme music for Married...With Children), you will be hard pressed to find any music in a film that is not credited.
...
Ignoring the rights issues here is like playing financial Russian roulette, as the folks doing M...WC discovered to their dismay.

Do you have a link with more details about this "infamous instance?" I was unable to find a specific reference to it online. It surprises me that network lawyers allowed something like that to happen.

 

[SOTSDO]

The first several years of the series rolled credits without the reference to the Sinatra recording. (but see NOTE below) Later seasons have the credit line present. I think that this was pretty well hammered out on the "other" saxophone web site at one point.

WKRP In Cincinnati is another show where this was an issue, with some of the music used in the telecast version being subbed out on the syndicated version (and on the single season released on video/DVD thus far.

NOTE:

There is a secondary story here, that being the use of the tune in the video version altogether. The first year's video issue has the original "Love And Marriage" as sung by Ol' Blue Eyes himself, but the later seasons (up to Season 9; 10 is not yet released on video as far as I have seen) have a sappy, synthesized theme that incorporates some of the elements of the original (and tempo, obviously, since it matches the tune length and pacing of the original exactly), but has little else (including zero lyrics).

I have seen this attributed to the Kahn estate or Sinatra's estate carping about the rights, and the production company making a decision to cut their losses and go with new music, but nothing about this was any more authoritative than some comments on the Internets.

 

[sideC]

Yes, they would need to credit FS. And probably need to pay his estate per use, I would imagine.

Most artists don't get credit for performing on tv themes and incidental music, if it's recorded for use on a specific show. I remember performing the theme song for a tv show called "Bill Cosby You Bet Your Life", or something to that effect. I played the theme melody on tenor, and recorded incidental music, segues, secondary themes etc. Shirley Scott wrote the music, so her name went on the credits. There were some big names in the band, Johnny Coles, Mickey Roker, Arthur Harper, Zack Zachery, Ray Mantilla, and Shirley Scott. We all made a pay day, and moved on to the next gig.

Show business.