No matter how I try, I can not argue against that smooth sax.
And after Deja Vu, I was badgered to continue my delves into the realms of jazz. Let me put it this way, if you were to grab a pen and a piece of paper and draw a Venn diagram of my comfort zone in music and add to it the overlaps with all musical genres genres, jazz would be sitting alone on the other side of the paper.
Sam & Max is one of those franchises I feel is passed by quite often. When we talk about the Lucasart point-‘n’-click adventures of old (’93 in this case), Day of the Tentacle, Monkey Island, Fate of Atlantis, Full Throttle and Grim Fandango seem to be the ones people remember most fondly. Sam & Max Hit the Road feels obscure in comparison. And I get it. The humour and the world is very divisive; you get it, or you do not. To me it hinges on whether you find Max to be a funny character.
At any rate, the music of Sam & Max deserves some praise. While the world built around the Freelance Police may not be very consistent, the music consistently delivers a great light-headed detective noir atmosphere. So why did I choose the theme from Trixie’s Trailer? The original soundtrack was arranged on purpose to sound like a 5th grade orchestra’s first play through of the number; the drummer does not set the pace, not really, and whatever rhythm there is is at best indicative, which I feel is a shame. This, however, is a trick I think was employed because the composers knew they had a melody that could uphold an imprecise execution and shine in spite of it. And that is where I get off. This melody is perhaps the only melody from Sam & Max Hit the Road I can still hum from memory, and that is why I chose this from the entire original soundtrack.
The scene I imagined for this arrangement was Trixie and Bruno sharing a glass at the bar at the Savage Jungle Inn after escaping from Conroy Bumpus’ managerie, which meant that the organ from the original sound track was removed to accommodate a “lounge” atmosphere instead. Further the original version ends rather abruptly and I wanted to return to the main theme before ending the theme here to get an “there and back again,” feeling ending on a major seventh chord, because not doing so was way too idyllic. Also because of jazz.
Nonetheless, thank you to Clint Bajakian, Michael Land and Peter McConnell for the original sound track to the game.