All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
In theaters August 4th, The Tic Code is a film that depicts the life of a young jazz pianist who has Tourette’s syndrome. Inspired by the true-life story of her husband, Michael Wolff, Polly Draper’s script centers on a gifted twelve-year-old student of jazz piano. His name’s Miles. The young man has trouble coping with his neurological disorder, until his mother’s encouragement brings him closer to the New York jazz scene. Details of the Lions Gate film are available. The jazz score for this film was written by Michael Wolff.
As a soundtrack, the music includes several old favorites. Cannonball Adderley’s unmistakable voice introduces "Mercy, Mercy, Mercy." Thelonious Monk plays piano on "Straight, No Chaser" and "Don’t Blame Me." Wayne Shorter performs "Ponta de Areia." Cal Tjader’s arrangement of "Soul Sauce," however, gets updated by Wolff’s New York Score Band with Dave Samuels on vibes and Don Alias on congas.
Most of the film’s score features pianist Wolff with a quartet that includes Alex Foster, John B. Williams and Dick Berk. The music follows the film’s plot and Wolff is careful not to intrude. Foster does a great job with his saxophone features; they’re portrayed in the film by Gregory Hines. Jazz, blues and gospel remain vital parts of the scenery. Bassist Williams plays his parts tastefully, while drummer Berk becomes too loud and obvious in places. It’s a film soundtrack with intended dynamics. Nice to see a jazz soundtrack with genuine roots performed tastefully and at the focus of attention.
Track Listing: Blues in Hoss
Personnel: Michael Wolff- piano; John B. Williams, Ron Carter, Christian McBride- acoustic bass; Dick Berk, Lenny White, Tony Williams- drums; Alex Foster- tenor saxophone; Dave Samuels- vibraphone; Don Alias- percussion.
I love jazz because it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.