![]() ![]() Granz selected an impressive roster of musicians for the film. ![]() Turner Movie Classics, which has aired the film as part of a tribute to the National Film Registry, called it “one of the greatest of all jazz films.”Īccording to a 1982 interview, Kessel explained that the film came about because Jazz producer Norman Granz (right) wanted to recreate on film the jam session music format he had helped popularize in the Los Angeles jazz scene in the 1930s and early ‘40s. In 1995, the Library of Congress selected it for preservation in the United States National Film Registry because the film is “culturally, historically, or aesthetically significant”. Kessel was proud of his role in the film – its musical style was close to his own musical roots and playing in it was a big step forward in his own career. In the Barney Kessel collection are 2 records with music from the film, as well as a 38-page interview in which Kessel discusses the film, its origins, its impact, and the backstory of many of the artists involved. However, Kessel’s involvement in film dates back to at least 1944 when, at the age of 21, Kessel played guitar in the Warner Bros musical short “Jammin the Blues,” released May 5 of that year. On this blog we’ve already covered a little bit of Barney Kessel’s work on film music, discussing how he adapted composer Henry Mancini’s score for “Breakfast at Tiffany’s” into his own record. ![]()
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