“Jazz has endured because it doesn’t have a beginning or an ending. It’s a moment.”            – Robert Altman.   Some of my favorite films are ‘mosaics’. A fistful of the best include Nashville (1975), MASH (1970), The Player (1992) and Short Cuts (1993). Made by American movie pioneer, Robert Altman (1925 – 2006), they’re shining examples of supremely satisfying, subversive cinematic storytelling, as intricately constructed as a Mesopotamian temple.   And so it goes: the paths of a multitude of seemingly discreet characters intersect and intertwine, eventually moving together as one towards a powerful denouement. Sounds like jazz to me.   Paul Thomas Anderson’s epic, sprawling tragedy Magnolia (1999) is another tapestry with a baker’s dozen worth of characters…