Crime

The musical identity of the 'Crime' genre coalesced in the late 1940s and 1950s within the United States, specifically through the medium of Film Noir. Composers like Alex North and Elmer Bernstein began rejecting traditional symphonic scores in favor of Jazz, whose association with speakeasies and city nightlife made it the perfect sonic backdrop for stories of corruption and vice.

In the late 1950s and 1960s, this style was popularized by television detective series, with Henry Mancini's 'Peter Gunn' theme becoming a definitive archetype of the 'Crime Jazz' sound. This era established the use of cool jazz, walking basslines, and sudden brass stabs to represent stealth and action.

By the 1970s, the genre evolved into 'Crime Funk' or 'Cop Show Funk,' incorporating the rhythms of Soul and Funk. Artists like Isaac Hayes and Lalo Schifrin introduced wah-wah guitars, complex percussion, and driving breakbeats to match the grittier, high-speed chases of the era's cinema. This sound became a goldmine for later Hip Hop producers and heavily influenced the development of Trip Hop and Dark Jazz.

To compose in the classic 'Crime Jazz' style, utilize a small jazz combo or orchestra with a focus on lower-register instruments like baritone saxophone and double bass playing a walking or stalking rhythm. Employ minor keys and dissonant harmonies (such as the 'Hitchcock chord' or minor major sevenths) to create unease.

For a 1970s 'Crime Funk' feel, establish a driving, syncopated drum groove (breakbeat) and layer it with a wah-wah electric guitar playing percussive muted strums. Add dramatic brass swells (crescendos) or stabs to accentuate moments of violence or surprise. The tempo should generally be moderate to fast, simulating the pulse of a chase or a tense investigation.