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Reissued material by Miles Davis, Ornette Coleman and Bill Frisell for a film score? It works out perfectly as accompaniment to the film’s changes in scene and mood. Creative music to accompany a creative motion picture. This is award-winning music for an award-winning film. Finding Forrester should collect all the awards this year. While remaining unobtrusive throughout the wholesome saga, this music contributes to the film’s intentions from a distance.
The music of Davis’ 1970s-era rebirth gently nudges the film’s central character towards his social and intellectual discoveries. A 16-year-old kid from the Bronx with unusually gifted talents for creative writing and for basketball is continually reminded of his roots through the majesty of Davis’ horn. African percussion, mysterious strings and keyboards, earthy woodwinds and handclaps add considerably to the scene’s visions of high-rise apartments, urban graffiti and public disrespect for authority. Our pride in the music echoes the character’s acceptance of his surroundings. Bill Frisell’s guitar enters during times when the youngster becomes faced with unfamiliar, outside pursuits. The gentle stroke of Frisell’s guitar urges the teenager to remain strong in the face of opposition. The guitarist’s creative quartets also serve to assuage the fears of Sean Connery’s character and to offer him the self-confidence he needs to finish what he’s started. In the end, the film’s storyline takes its characters on unexpected roads with the help of these classic jazz recordings.
Track Listing: Recollections; Little Church; Black Satin; Under a Golden Sky; Happy House; Over the Rainbow (Photo Book); Lonely Fire (excerpt); Over the Rainbow/What a Wonderful World; Vonetta; Coffaro
Personnel: Miles Davis- trumpet; Don Cherry- pocket trumpet; Bobby Bradford- cornet; Ron Miles- trumpet; Curtis Fowlkes- trombone; Wayne Shorter- soprano saxophone, tenor saxophone; Steve Grossman- soprano saxophone; Ornette Coleman- alto saxophone, tenor saxophone; Carlos Garnett, Dewey Redman- tenor saxophone; Bennie Maupin- bass clarinet; Joe Zawinul, Chick Corea- electric piano; Herbie Hancock- piano, electric piano, keyboard; Gaylor Holomalia- keyboards, programming; Keith Jarrett- organ; Eyvind Kang- violin; Hank Roberts- cello; Colin Walcott, Khalil Balakrishna- sitar; Bill Frisell, John McLaughlin, David Creamer, Del Beazley- guitar; Roland Cazimero- bass guitar; Dave Holland- electric bass; Charlie Haden, Michael Henderson, Kermit Driscoll, Mel Amina, Ron Carter- bass; Jack DeJohnette, Billy Higgins, Joey Baron, Ed Blackwell, Tony Williams- drums; Billy Cobham- drums, triangle; Airto Moreira- cuica, percussion; Hermeto Pascoal- drums, whistling; Badal Roy- tabla; James Mtume, Mike Muldoon- percussion; Israel Kamkawiwo
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.