Customer Reviews

Anatomy of a Murder: From the Soundtrack of the Motion Picture (1959 Film)

5 star:		(8)
4 star:		(3)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

First, rent or buy the movie. "Anatomy of a Murder" is a classic courtroom mystery, arguably Otto Preminger's finest with a superb cast of stars: James Stewart, Lee Remick, Eve Arden, Ben Gazzara, George C. Scott and others--even Joseph N. Welch: the man who, in real (as opposed to reel) life, put Senator Joseph McCarthy in his place. The film is in gorgeous black and white and boasts one of the best scores ever written for a film. Why this very 'adult' movie should have practically disappeared is another mystery.

After you see the movie and hear how the brash big band and intimate, mellow Ellington jazz illuminates the script, you can buy the CD and listen over and over. There are also stars playing the score: Ray Nance, Jimmy Hamilton, Johnny Hodges, Shorty Baker, among others, are all beautifully featured.

Movie fans as well as jazz fans will be very happy they bought this Ellington treasure. HIGHLY RECOMMENDED.

While Elmer Bernstein is usually given credit for inventing the subgenre of the "crime jazz" soundtrack for Otto Preminger's 1955 film noir "The Man With the Golden Arm," Bernstein's score more or less stayed with the convention of wedding the music directly to the emotional import of the action onscreen. While he wrote some strong and visceral themes, and opened up a previously untapped genre (jazz) to the movies, Bernstein's score relies too heavily on one main theme, and lacks the cohesion of his later efforts. In 1958, Orson Welles hired composer Henry Mancini to write the score for his own noir thriller, "Touch of Evil," and Mancini's soundtrack really took the "crime jazz" soundtrack into previously uncharted territory, as Welles incorporated the soundtrack into the movie more as background music and raucous street noise than classic underscoring.

But it was with Preminger's 1959 courtroom drama "Anatomy of a Murder" that the "crime jazz" soundtrack really came to its full fruition. Whereas Bernstein and Mancini were classically-trained movie composers writing in the jazz genre, Ellington was one of jazz's true elder statesman, who had a refined interest in the classics, and his soundtrack for "Anatomy" is the most consummate of all jazz soundtracks, looking forward to Quincy Jones' backbeat scores. What Ellington brings at long last to the fore is the element of improvisation, which really gives the soundtrack an unpredictable bounce that works wonderfully vis-a-vis Wendell Mayes' unpredictable screenplay.

There are a number of listeners that regard Ellington as a fish out of water for this soundtrack, which they regard as a "nice attempt." I disagree, entirely: Ellington's dynamic orchestrations, economical use of themes and varied moods represent some of his best output, and although there is a hip, urbane sound to his big band/swing numbers, his sad songs are among the saddest sounds in all movies, even rivalling Bernard Herrmann's dark scoring. There is a bottomless pit of sorrow in his quiet blues numbers that ring true and resonate with the listener in the most bitter, sanguinary, way.

Columbia's reissuing packaging remains faithful to the original cover/label art and there are plenty of alternate takes and concurrent issues on this disc as a bonus. Ellington's commentary at the end gives further insight into the soundtrack, the movie itself, and his musical ideas. His voice is as musical as his numbers, very refined, gentlemanly and impassioned.

Whatever the process was to Bring Duke Ellington,s score to this film was magical...and profound. Its 1959 , and even though some of Alex North,s scores had some jazz themes...films were not quite ready for what Mr. Ellington serves up here.

The scores edge frames the scenes and adds a distinct emotion to what we are seeing on the screen. The unexpected in riffs shows up and puts the viewer on alert that what we are seeing on the screen is chaos, witty entendre, story editing in its pure form..and stark reality with or without those panties!( riske stuff in 1959)

What is the real truth also is that we are not drowned out by the decibel level of this music..there is no need ..because it is pure Ellington..and pure Ellington adds a sophistication and tone to the characters and story line. It wouldnt be untill the mid 60,s ( The Pawnbroker..Quincy Jones) , that a filmgoer could experience a dynamic score ...Bravo Ellington...

While I am no great fan of Duke Ellington's music, especially the stuff he created after 1950-52, this album is a jewel. It expanded the definition of what musical soundtracks might be, and it did so with such deep feeling, style and creativity, I can't imagine anyone grousing at this 75:00+ program of superb big- and small-ensemble jazz. It synthesizes blues, be-bop and abstract classical on a very profound level.

Other writers on this page have mentioned the musicians on the disk , but I want to mention the ways in which this composer and his ensemble created ambiance in a very tense, erotic and ambiguous motion picture. It's just what the doctor ordered.

Except for the Main Title, which sounds harshly strident to my ear, the remastering of this material wants for nothing. It is rich, deep and full, and plays well on a system with "flat," natural, output.

ANATOMY OF A MURDER marked the end of an era in which the real action of movie mysteries was implicit and ambiguous, in which the audience was called upon to actually THINK. What Jimmy Stewart, Ben Gazarra and Lee Remick brought to this project will last a lot longer than I will. But what Ellington's music did to amplify their superb performances is exceptional.

For the price of a big-city martini, you get your perennial warm-up. Five stars for a job well done.

No, this is not the best Ellington album I've heard so far, but it's still top notch jazz orchestration... Maybe those who say that Mancini's work for "Touch of Evil" is better are not wrong when you look at Ellington and Mancini as composers of FILM SCORE. But, I'm listening this as a jazz album and I like what I hear (and I don't think Mancini's work for "Touch of Evil" would work very well as an independent jazz album)...

Naturally, for fans of the Preminger "Anatomy of a murder" film (BTW - not a bad film at all), the fact that this is a soundtrack album will be an additional pleasure.
But, even if you've never heard of the film, you can enjoy this JAZZ album. AND there are some nice bonus tracks where you can see a hint of the anatomy of Ellington's work and even his dukal voice (excerpts from an radio interview) pertaining to the score for "Anatomy of a murder".

Over the years I've had a few copies of this on vinyl, both in mono and stereo. I picked up the CD for the bonus tracks and the convenience of having the album on CD.

While the liner notes (and some of the reviews) brag about the improved sound, this remastered version lacks the compression and reverb that gave the original album much of its mood and atmosphere. While this approach may add a certain "clarity," it robs the music of its emotional punch. For example, the woodwind and finger-snapping passages on "Way Early Subtone" without the compression and reverb sound flat and lifeless.

It would have been nice if they brought out the bass - both the instrument and the frequency - on some of these tunes, but in fairness they may have been limited by a less-than-ideal mix to begin with.

If you're an Ellington fanatic, you'll want this for the bonus tracks. However, it is a complement to the original album and not a replacement. Casual Ellington fans - and fans of jazz film scores - may want to check out the original instead.

That guy who said this was the closest thing we have to a vernacular American symphony needs to spend more time outside of his comfort zone! I mean, I know we all want to circle the wagons around Duke because of the indignities that such an obvious genius suffered during his lifetime: being called a "petit maitre" by his greatest supporters, having it be questioned whether he was a composer at all! Horrible. But none of this changes the fact that there are radically different levels of excellence on this record - 1) Performance - totally excellent; the Ellington band at the top of their game. 2) melodic writing and scoring - intermittently excellent: Almost Cried/Flirtibird - excellent, I'm Gonna Go Fishing (Main title/Upper and Outest) - excellent. Happy Anatomy - definitely not excellent - in fact quite generic. Clark Terry is great, but that's obvious...3) Sense of continuity and linkage - absolutely not excellent. Henry Mancini's score for Touch of Evil (for example) is ersatz Jazz, OK, agreed. But the flow of it! It's just better than this is. Give it up to Mancini! He may be shlock, but he's a master ! As composition, this is middling Ellington. People who are married to Jazz are just the wrong people to be judging this music. And Wynton says this is the best use of celeste in Jazz? I mean I know we don't like the same things, but compared to Monk's Pannonica????? We're not doing Ellington's legacy any favors by calling this a masterpiece.

Ellington's 1959 debut at film scoring proves an odd choice - a courtroom drama that doesn't provide many settings suitable for orchestra / big-band jazz. However, Ellington as always, can pull off a "minor" masterpiece to say the least. The "Anatomy Of A Murder" soundtrack is just that - a soundtrack. It's really an album for lovers of both film score and fine jazz, some Ellingtonians may be disappointed with the wavering styles presented here. The fluidness known to exist in jazz is partially absent, but Duke's lively horn arrangements are still alive and effervescent. He was making movie music after all, meaning it couldn't really override the dialogue of the film. It therefore may sound slightly stilted and reserved for people expecting the usual genius of Duke. There are emotions abound though; joy, fear, surprise, anger, temptation - you can hear them all in the orchestra. This is also some of the sexiest work Duke has ever produced, particularly the main theme. Jazz purists may dismiss it as "strip tease" music, but stretch your ears and hear Ellington bending the full orchestra to his will, utilizing bass clarinets and muted trumpets. It's really funny, sexy music at times.

The remastering and repackaing job Columbia Records have done with this album is incredible. The original half-hour release has been doubled in length, most of the new material previously unreleased. The liner notes lovingly document Ellington's journey through the creation & execution of this album, as well as his friendship with director Otto Preminger. This album may serve best as a recommendation for film soundtrack lovers who love jazz or would at least like to hear how great jazz would serve as a film score. By the way, the movie itself is pretty good, too.

This is easily one of the best jazz albums I've heard, and, as a jazz DJ, I've heard quite a few of them! Admittedly, it's not Ellington's best work, but look at what else the man composed! Most of the tracks sound more like jazz standards than parts of a film score; the album plays like a classic. This is a successful foray into film composition, and a must- have for any jazz enthusiast.

If you are a fan of the movie get this film score... People sit here and write paragraph upon paragraph of tripe analyzing and re-analyzing structure, sound quality, composition, continuity, blah-blah-blah until they fall over backward foaming at the mouth! It appears impossible for these musical malcontents to simply buy some music and enjoy it for what it is, as opposed to (in >their< opinion) what it could or should be!