Jan: Yeah, Coltrane, Miles Davis, that stuff--and Bill Evans-I listen to that. And every once in a while, I hear something on the radio, and there will be a song that turns my ear, and then I realize that the rest of CD is really sort of filler, and it just happens over and over. And I'm sure that's why people don't want to buy CDs.

Cool Runnin'

Jan: As far as specific things right now, I just finished a six-hour mini-series for the BBC called Red Cap, a military crime drama. They've been renewed for a second season, so I'll probably do that later this year.

Other than that, I've been recording my son, Paul Hammer for his own CD. He plays guitar, piano, drums, sings.

Ed: Are you going to guest on it?

Jan: No. I just want him to do it, and he's perfectly capable, so that's what I've been working on for the past two weeks. But he's in school at NYU, but when he's got a break, he comes up and he we work on it, and it's been fun.

Ed: One last question, and then I'll let you go: Any advice for someone who wants to break into soundtrack work?

Jan: That's a tough one. I think that you have to really love it, believe in yourself, and I think you have to move to do L.A.! [Chuckle]

Ed: So you don't recommend doing what you did, and do it out of Connecticut!

Jan: Even when I was doing it, nobody else was doing it. It was strictly because an arrangement between me and Michael Mann, who was give me the freedom, and he trusted me enough to do it. But people in general, who are in charge of TV shows-or film (producers and directors)-they really want to be right on top of you. Because they don't believe that you can come up with anything good enough unless they supervise you. [They think that] by them supervising you, they make it better. It sounds stupid, but that's how it is.