Enjoyable Sounds of a Night at the Movies

Jazz and the movies--two of America’s most distinctive and original art forms. Not always compatible with each other, they have had a roller-coaster sibling relationship for most of their nearly parallel existences.

A few of the high points of that relationship were on display at the John Anson Ford Amphitheatre on Saturday night in “Jazz Pilgrimage ’97 Goes to the Movies,” a program featuring the American Jazz Orchestra playing the music of jazz and film composers Johnny Mandel and Lennie Niehaus, and bassist Charlie Haden with his Quartet West performing a selection of film noir-oriented numbers.

Mandel, whose many scores include “I Want to Live!,” “The Americanization of Emily,” “The Sandpiper” and “Being There,” was represented by several of his better-known numbers. “The Shadow of Your Smile” and “Emily” have by now become virtual ballad standards, and his theme for “MASH” (actually titled “Suicide Is Painless”) is probably one of the better-known melodies in the world.

But Mandel (who, with Niehaus, was given an achievement award by the Hollywood Art Council) was also a first-rate jazz arranger before he became a film composer. And Mark Masters, conducting the American Jazz Orchestra, wisely included some of Mandel’s bracing, upbeat jazz charts as well.

Niehaus’ film work has primarily been visible through his association with Clint Eastwood on pictures such as “Bird,” “Unforgiven” and “Pale Rider.” He too is a veteran jazz composer (and alto saxophonist). Humorous and witty with his between-numbers remarks, Niehaus conducted his own well-crafted charts from “Tightrope,” “Lush Life” and “The Bridges of Madison County,” aided by enthusiastic solo contributions from Cecilia Coleman on piano, Ron Stout on trumpet, Danny House on soprano saxophone and Dave Woodley on trombone.

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Haden’s fascination with film and film noir has been the energizing force behind several of his albums. Quartet West, abetted by a string ensemble from the Young Musicians Debut Orchestra, explored that fascination, playing beautifully articulated orchestrations by pianist Alan Broadbent.

Haden chose an eclectic program that was appropriate in mood and attitude rather than specific association with any particular film. His selections ranged from the classic ballad “Detour Ahead” to Lennie Tristano’s poignant tribute to Charlie Parker, “Requiem.”

Quartet West’s performance was typically proficient and to the point. Tenor saxophonist Ernie Watts played with relative conservatism, emphasizing his warm, communicative sound and solid, blues-tinged phrasing. Haden, as always, was both the perfect accompanist and the fascinating, willing-to-take-a-chance soloist, and drummer Larance Marable’s playing was crisp and supportive.

But the heart of the music was provided by Broadbent’s atmospheric orchestrations and moody piano. More than anything else on the program, it was his contributions that recalled the shadowy milieu of film noir.