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Word: blanchards (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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Music: Jazz trumpeter Terence Blanchard swings into film...

Author: /time Magazine | Title: Time Magazine Contents Page | 5/16/1994 | See Source »

Unlike Marsalis, who devotes equal time to classical music, Blanchard turned himself fully to jazz. He recorded five albums with saxophonist Donald Harrison (beginning with New York Second Line in 1984) and then two others leading his own quintet (Terence Blanchard and Simply Stated, both released in 1991). In the New York City club scene, he established himself as a composer and soloist with a silvery tone and a gift for majestic phrasing...

Author: /time Magazine | Title: MUSIC: Jazz Goes to the Movies | 5/16/1994 | See Source »

...film composer that Blanchard, 32, is now reaching wider audiences. In the gangster drama Sugar Hill he uses the sparse, bluesy sound of a jazz quintet to underline the flavor of tragedy and urban decay that permeates the story. "These characters pull the trigger at the drop of a hat," says Blanchard, "so a massive score would have overwhelmed the starkness I wanted to convey." In The Inkwell, a coming-of-age comedy set in a beach resort in 1976, and Crooklyn, Spike Lee's drama about family life in 1970s Brooklyn, Blanchard sketches dreamy melodies with strings and piano...

Author: /time Magazine | Title: MUSIC: Jazz Goes to the Movies | 5/16/1994 | See Source »

...Blanchard's movie work began in 1987 when Spike Lee heard one of his albums and asked him to compose the music for School Daze. Blanchard went on to score Lee's next four films and followed those in 1992 with music for Malcolm X, written for a 55-piece orchestra, a big band and a jazz trio--all at different times varying and elaborating a single, stately theme to capture the turbulent flow of Malcolm's life...

Author: /time Magazine | Title: MUSIC: Jazz Goes to the Movies | 5/16/1994 | See Source »

...Blanchard says his film experience has sharpened his work in jazz composition as well as performance. "Anybody can play a pretty melody," he says, "but in the confines of a movie scene, you only have a few seconds to get to the heart of the matter, to phrase the emotion you want. Jazz helps me take an idea and vary and develop it; film helps me focus my ideas." That kind of thinking can only mean good times for both jazz and movie music. In fact, with Billie riding at No. 6 on the charts, and with all those Blanchard...

Author: /time Magazine | Title: MUSIC: Jazz Goes to the Movies | 5/16/1994 | See Source »

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