Jan Hammer talks to Rolling Stone about writing tropical music in a snowy New York for the 80's TV show Miami Vice, the pressure of having to write large pieces of score for every episode and still keeping it fresh, and being creatively free:

For the four years that I worked on the show, yes. I would usually get a rough cut of the episode, with some of the [licensed] songs already placed in. Sometimes I was able to work in and out of those songs, and make transitions. Sometimes I'd just go off on whatever struck me. I never read the script. Getting caught up in the excitement of the story — that's how I was able to get inspired writing music for it.

The pilot, however, was done more of the old-fashioned way. I was in L.A. with Michael in the screening room, deciding where the music would go. When we finished, Michael took me aside and said, "When the show gets picked up, I want you to run with this." That was the password for me to be totally free. I was able to decide what kind of music to write, and where to place it in the story — how to drive the narrative. It's very unusual and I'm very grateful for him, as he said, letting me "run with it."

Jan Hammer on Dutch television with one of my favorite tracks, Crockett's Theme:

Featured image: Jan Hammer during a Fairlight Q and A. Via Fairlight.