Music, Movies, Meanings, and Markets: Cinemajazzamatazz by Morris Holbrook (2011)

One of the arch-enemies of the true arts – commercialism – is at the root of this interesting study of jazz as one of the central aspects of an audio sphere that provides distinct information to film. Having identified commercialism, Morris Holbrook is one expert in this discipline and the study thereof; since he furthermore is also a jazz fan, he seems the perfect choice to enlarge on the use of jazz, character definition and product marketing in film, particularly in movies where a huge amount of jazz music is found. His focus is on the “ambi-diagetic” use of jazz music, describing jazz that is actually heard by the characters and is being produced within the movie, its production “happening” while an individual or a band play jazz music

Holbrook chose some powerful titles to make his point, namely to interpret the role of jazz in these movies as an attempt to create a particular consumer intention, and finally to show the possibilities of creating marketing devices simply by letting certain action and sound be there simultaneously.

Both movie and jazz buffs will be very pleased with his selection of examples that reveal a deep insight into the various forms of fictional jazz representation on the silver screen: High Society, The Talented Mr. Ripley, Pete Kelly’s Blues, Kansas City, Paris Blues, The Score, Sweet Smell of Success, New York, New York, The Cotton Club and naturally Young Man with a Horn are among this selection.
Another chapter is devoted to some of the greatest movie scores written by jazz musicians such as Miles Davis and John Lewis and to some examples of jazz biopics.
A great read that made me go to my local media store and call some movie collector friends to ask for certain DVDs.

Review by Dr. A. Ebert (c) 2012

Morris Holbrook. Music, Movies, Meanings, and Markets: Cinemajazzamatazz. Routledge, 2011, 382 p.