![]() Shelly had won the Down Beat poll five years in a row, the Metronome poll three years in a row, and Shorty and the Giants were playing Zardi's, The Haig, the Crescendo and a number of other L.A. Shelly was Heifer's drummer and it was the beginning of a long studio career for the jazz drummer. Shelly did the session, won the confidence of Heifer, and, as usual, the friendship of many of the studio players. Most of the music was "source music," i.e., from "a radio across the courtyard," but there were some challenging percussion parts. It was a fairly difficult session, in that there were quite a few complex drum parts. Alfred Hitchcock's Rear Window had been completed and was ready for the music. Bobby Heifer was the music contractor at Universal International Studios and knew Shelly and decided to take a chance. Making money playing jazz had never been easy. They were trying to gel into the very lucrative studio scene. Nevertheless, it was another notch in the jazz player's belt. This was another Leith Stevens project, but this time the music would play a less important role in the film and very little of it is audible. Shorty was contacted and contracted for another film called Private Hell 36. Laurindo Almeida was already doing film work, and this year he was asked if he could play the guitar for a film called The Rube. ![]() ![]() ![]() Over in the Hollywood film studios, the music contractors were starting to realize that they just might have struck upon something in using jazz musicians who were versatile and could read well. ![]()
0 Comments
Leave a Reply. |