# xmcd
#
# Track frame offsets: 
#        150
#        18015
#        28087
#        46017
#        55915
#        72380
#        84037
#        96557
#        107572
#        116057
#        127355
#        133965
#        145795
#        156522
#        168847
#        186037
#        194540
#        206782
#        222960
#        240507
#        250655
#        260792
#        270782
#        282017
#        293760
#        342310
#
# Disc length: 4570 seconds
#
# Revision: 4
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=8711d81a
DTITLE=Duke Ellington / Anatomy Of A Murder
DYEAR=1959
DGENRE=Soundtrack
TTITLE0=Main Title and Anatomy Of A Murder
TTITLE1=Flirtibird
TTITLE2=Way Early Subtone
TTITLE3=Hero To Zero
TTITLE4=Low Key Lightly
TTITLE5=Happy Anatomy (Band-Movie)
TTITLE6=Midnight Indigo
TTITLE7=Almost Cried (Studio)
TTITLE8=Sunswept Sunday
TTITLE9=Grace Valse
TTITLE10=Happy Anatomy (P.I. Five)
TTITLE11=Haupe
TTITLE12=Upper And Outest
TTITLE13=Anatomy Of A Murder (Stereo Single)
TTITLE14=Merrily Rolling Along (AKA Hero To Zero) + Sunswept Sunday (M
TTITLE14=ovie Stings & Rehearsal)
TTITLE15=Beer Garden (Previously Unissued)
TTITLE16=Happy Anatomy (Band-Studio)
TTITLE17=Polly (AKA Grace Valse, Haupe, Low Key Lightly, Midnight Indi
TTITLE17=go)
TTITLE18=Polly (Movie Stings)
TTITLE19=Happy Anatomy (Dixieland)
TTITLE20=More Blues (P.I. Five)
TTITLE21=Almost Cried (AKA Flirtibird)
TTITLE22=Sound Track Music: Anatomy Of A Murder (Duke Ellington A La G
TTITLE22=uy Lombardo)
TTITLE23=Anatomy Of A Murder (Mono Single Mix In Stereo)
TTITLE24=The Grand Finale (Rehearsal + Lines + Interview + Music + Sti
TTITLE24=ngs + Murder)
TTITLE25=Pause Track
EXTD=Originally Released 1959\nRemastered + Expanded CD Edition Releas
EXTD=ed April 27, 1999\n\nAMG EXPERT REVIEW: By the time of Duke Ellin
EXTD=gton's engagement to write and record the music for Otto Preminge
EXTD=r's Anatomy of a Murder, he was an elder statesman of jazz. He'd 
EXTD=performed in, and contributed music to, various movies before, bu
EXTD=t those were almost all short subjects or B-musicals, or confined
EXTD= to a handful of numbers (Belle of the Nineties) -- Anatomy of a 
EXTD=Murder, by contrast, was a four-star feature film with a first-cl
EXTD=ass cast (led by James Stewart, Lee Remick, and Ben Gazzara) and 
EXTD=director. He rose to the occasion, creating a virtuoso jazz score
EXTD= -- moody, witty, sexy, and -- in its own quiet way -- playful. E
EXTD=llington naturally subordinated his music to the action in the fi
EXTD=lm, but "Midnight Indigo," "Flirtibird," "Happy Anatomy," and "Su
EXTD=nswept Sunday" (the latter highlighted by Jimmy Hamilton's clarin
EXTD=et theme) would have slotted in nicely in other contexts, on any 
EXTD=of his standard albums. The 1999 reissue (Columbia-Legacy 65569) 
EXTD=includes several unedited studio performances by the band, some v
EXTD=ariant performances and arrangements, an open-ended Ellington int
EXTD=erview intended to publicize the film and the album, and rehearsa
EXTD=l excerpts. The main difference from the original LP or the earli
EXTD=er foreign CD reissue is that, in going to the original session t
EXTD=apes, this reissue misses the heavy layer of echo added to the or
EXTD=iginal LP, bringing the detail and presence of the original band 
EXTD=performances much closer.  -- Bruce Eder\n\nAmazon.com Editorial 
EXTD=Review\n"I like playing with music and its relationship to the th
EXTD=eater, particularly in the supporting role," Duke Ellington remar
EXTD=ked in an audio interview from the reissue of his splendid soundt
EXTD=rack to Otto Preminger's 1959 film, Anatomy of a Murder. "Doing t
EXTD=he score for a picture really calls for being along with the acti
EXTD=on and absorbing all of the atmosphere [of] everything taking pla
EXTD=ce in the picture." But as this CD--which includes 14 alternate t
EXTD=akes--shows, the syncopated swing and soul Ellington and his men 
EXTD=lay down steal the show. Just as Preminger moves and shapes his a
EXTD=ctor's characters, Ellington creates musical motifs that bring ou
EXTD=t the best in his musicians as well as the story line. The orches
EXTD=tra sets the pace with the fanfare-ish "Main Title," with tenor s
EXTD=axophonist Paul Gonsalves's candlelight tones. Johnny Hodges's up
EXTD=wardly mobile alto-sax cries signify the femme-fatale, hip-swingi
EXTD=ng rhythms of "Flirtibird," which segues into the finger-snapped 
EXTD="Way Early Subtone," with Russell Procope's cool clarinet. Other 
EXTD=standouts include the ballad "Low Key Lightly," costarring Elling
EXTD=ton's regal piano and Ray Nance's serenading violin, while "Midni
EXTD=ght Indigo" is harmonically haunted by Ellington's crystalline ce
EXTD=lesta chords, Billy Strayhorn's telepathic piano comping, and Har
EXTD=ry Carney's soul-stirring baritone sax. The insightful and author
EXTD=itative notes by historian Phil Schaap and Wynton Marsalis, along
EXTD= with the alternate and rehearsal takes, give the listener a comp
EXTD=rehensive overview into the movie's themes of murder, romance, an
EXTD=d intrigue that Duke Ellington so brilliantly augmented and illum
EXTD=inated through jazz improvisation, big-band orchestration, and th
EXTD=e blues. --Eugene Holley Jr. \n\nFrom Jazziz\nRarely has such sum
EXTD=ptuous jazz been married to a film soundtrack. Written in 1959 fo
EXTD=r director Otto Preminger's courtroom drama of sex and jealousy, 
EXTD=the burnished glow of Ellington's score is undeniably erotic - in
EXTD=deed, the powerfully charged, slow burn of the second track here,
EXTD= "Flirtibird," is among Ellington's most sensual recordings.\nCla
EXTD=ssic film scores build on recurring motifs that identify characte
EXTD=rs and situations, amplifying their existence for the viewer thro
EXTD=ugh the sense of hearing. The "flirty bird" of the title - Lee Re
EXTD=mick's Laura Manion - is evoked early on by a six-note phrase, wi
EXTD=th emotional hues that undergo dramatic changes every time it rea
EXTD=ppears along the score's course. "Way Early Subtone" expands on t
EXTD=hat phrase in a passionate, extended coda that tries to rekindle 
EXTD=the flame; by the time of "Almost Cried," the melody has taken on
EXTD= a deep, hard-edged sadness.\n\nThe Ellington orchestra sounded e
EXTD=xquisite in the early summer sessions that produced this soundtra
EXTD=ck. With a burnished sonic brilliance reminiscent of the glorious
EXTD= 1940 "Blanton/Webster" edition of the band, and soloists like Jo
EXTD=hnny Hodges and Paul Gonsalves (whose masterful tenor saxophone s
EXTD=olo on "Hero To Zero" is surrounded by some truly adventurous har
EXTD=monies), Ellington's tightly woven soundtrack took on a life inde
EXTD=pendent of its original context. In doing so, it became one of Du
EXTD=ke's most satisfying albums.  --- Larry Nai, JAZZIZ Magazine Copy
EXTD=right  2000, Milor Entertainment, Inc. \n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nDichotomous, February 6, 2007\nReviewer: jive rhapsodist (
EXTD=NYC, NY United States)\nThat guy who said this was the closest th
EXTD=ing we have to a vernacular American symphony needs to spend more
EXTD= time outside of his comfort zone! I mean, I know we all want to 
EXTD=circle the wagons around Duke because of the indignities that suc
EXTD=h an obvious genius suffered during his lifetime: being called a 
EXTD="petit maitre" by his greatest supporters, having it be questione
EXTD=d whether he was a composer at all! Horrible. But none of this ch
EXTD=anges the fact that there are radically different levels of excel
EXTD=lence on this record - 1) Performance - totally excellent; the El
EXTD=lington band at the top of their game. 2) melodic writing and sco
EXTD=ring - intermittently excellent: Almost Cried/Flirtibird - excell
EXTD=ent, I'm Gonna Go Fishing (Main title/Upper and Outest) - excelle
EXTD=nt. Happy Anatomy - definitely not excellent - in fact quite gene
EXTD=ric. Clark Terry is great, but that's obvious...3) Sense of conti
EXTD=nuity and linkage - absolutely not excellent. Henry Mancini's sco
EXTD=re for Touch of Evil (for example) is ersatz Jazz, OK, agreed. Bu
EXTD=t the flow of it! It's just better than this is. Give it up to Ma
EXTD=ncini! He may be shlock, but he's a master ! As composition, this
EXTD= is middling Ellington. People who are married to Jazz are just t
EXTD=he wrong people to be judging this music. And Wynton says this is
EXTD= the best use of celeste in Jazz? I mean I know we don't like the
EXTD= same things, but compared to Monk's Pannonica????? We're not doi
EXTD=ng Ellington's legacy any favors by calling this a masterpiece.\n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nThe Great Duke didn't have a clue
EXTD=, March 17, 2004\nReviewer: Gene DeSantis (Philadelphia, PA Unite
EXTD=d States)\n\nOne wants to be kind to this album -- this is, after
EXTD= all, the Great Duke, the Wizard of Jazz -- but in the end one th
EXTD=inks of what the critic Terry Teachout has said about jazz film s
EXTD=cores: they're "like TV," too small-scale, too cheap, too familia
EXTD=r. "Anatomy of a Murder" is not a bad big-band album, though one 
EXTD=pines for Duke's melodic viruosity of yore; but he was in his Gra
EXTD=ndeur phase by now, grinding out tuneless tone poems, treating co
EXTD=ncert halls as lecture halls, and generally noodling big time. Be
EXTD=sides, when it came to composing a film score Duke didn't have a 
EXTD=clue. It's one thing to write themes -- "Anatomy" is full of them
EXTD=es -- but it's another to write compelling music with a dramatic 
EXTD=flow, and though the jazz buff may wince at Max Steiner and Alfre
EXTD=d Newman ("Rachmaninoff!" as they used to sneer, before they lear
EXTD=ned Rocky was pretty good himself), you can't get the main titles
EXTD= of "A Stolen Life" or "The Bravados" ever out of your head, or y
EXTD=our heart, while the Duke's chords are instantly forgettable.\nMo
EXTD=re's the pity as this third-rate soundtrack is a first-rate album
EXTD=, a generous 76 minutes with excellent sound and some most intere
EXTD=sting extra takes spiced with Duke's promo-disc platitudes, dialo
EXTD=gue elements and Ot-to Prrrreminger. ("You've just been ginned, l
EXTD=ieutenant!" "Grrrrin, be happy.") But even the ace producer Phil 
EXTD=Schaap, that brilliant reconstructor of the Newport concert, coul
EXTD=dn't heat up Mr. Freeze, and he ends the show with the sound of s
EXTD=trangling and flatted-fifths. Not one of jazz' finest hours.\n\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nPioneering and Perfect, October 13, 2
EXTD=002\nReviewer: Jones "cornhoolio" (The Republic of Freedonia)\nWh
EXTD=ile Elmer Bernstein is usually given credit for inventing the sub
EXTD=genre of the "crime jazz" soundtrack for Otto Preminger's 1955 fi
EXTD=lm noir "The Man With the Golden Arm," Bernstein's score more or 
EXTD=less stayed with the convention of wedding the music directly to 
EXTD=the emotional import of the action onscreen. While he wrote some 
EXTD=strong and visceral themes, and opened up a previously untapped g
EXTD=enre (jazz) to the movies, Bernstein's score relies too heavily o
EXTD=n one main theme, and lacks the cohesion of his later efforts. In
EXTD= 1958, Orson Welles hired composer Henry Mancini to write the sco
EXTD=re for his own noir thriller, "Touch of Evil," and Mancini's soun
EXTD=dtrack really took the "crime jazz" soundtrack into previously un
EXTD=charted territory, as Welles incorporated the soundtrack into the
EXTD= movie more as background music and raucous street noise than cla
EXTD=ssic underscoring. \nBut it was with Preminger's 1959 courtroom d
EXTD=rama "Anatomy of a Murder" that the "crime jazz" soundtrack reall
EXTD=y came to its full fruition. Whereas Bernstein and Mancini were c
EXTD=lassically-trained movie composers writing in the jazz genre, Ell
EXTD=ington was one of jazz's true elder statesman, who had a refined 
EXTD=interest in the classics, and his soundtrack for "Anatomy" is the
EXTD= most consummate of all jazz soundtracks, looking forward to Quin
EXTD=cy Jones' backbeat scores. What Ellington brings at long last to 
EXTD=the fore is the element of improvisation, which really gives the 
EXTD=soundtrack an unpredictable bounce that works wonderfully vis-a-v
EXTD=is Wendell Mayes' unpredictable screenplay.\n\nThere are a number
EXTD= of listeners that regard Ellington as a fish out of water for th
EXTD=is soundtrack, which they regard as a "nice attempt." I disagree,
EXTD= entirely: Ellington's dynamic orchestrations, economical use of 
EXTD=themes and varied moods represent some of his best output, and al
EXTD=though there is a hip, urbane sound to his big band/swing numbers
EXTD=, his sad songs are among the saddest sounds in all movies, even 
EXTD=rivalling Bernard Herrmann's dark scoring. There is a bottomless 
EXTD=pit of sorrow in his quiet blues numbers that ring true and reson
EXTD=ate with the listener in the most bitter, sanguinary, way.\n\nCol
EXTD=umbia's reissuing packaging remains faithful to the original cove
EXTD=r/label art and there are plenty of alternate takes and concurren
EXTD=t issues on this disc as a bonus. Ellington's commentary at the e
EXTD=nd gives further insight into the soundtrack, the movie itself, a
EXTD=nd his musical ideas. His voice is as musical as his numbers, ver
EXTD=y refined, gentlemanly and impassioned.\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nOne of Ellington's most elaborate Scores, BUT....., Novem
EXTD=ber 22, 2001\nReviewer: Michael R. Lachance (Maine, USA)\n'Anatom
EXTD=y of a Murder' poses a great challenge to Ellington as a composer
EXTD= and arranger. Never before had he been given such control over a
EXTD=nd entire motion picture soundtrack, and this challenge, in hinds
EXTD=ight, seems to have almost been too much for Duke. Musically, thi
EXTD=s is a very different sound from all previous works by Ellington,
EXTD= and compositionally, it is very much a scattered assembly of ide
EXTD=as. However, this is a movie soundtrack! And to a degree it has t
EXTD=o flow with the movie as such. Because of this i must give credit
EXTD= where credit is do. I have seen the film several times, it is no
EXTD=t in itself a spectacular film to write a jazz soundtrack to. Alt
EXTD=hough Otto Preminger's idea for such a soundtrack was very much a
EXTD=head of its time, and perhaps out on a limb, i feel that it just 
EXTD=wasnt appropriate for the film. Kudos to Duke Ellington for givin
EXTD=g it a shot. Others may have differing opinions, but i feel it wa
EXTD=s a mistake before it began. As far as jazz goes, this recording 
EXTD=does have its contemporariness going for it, and it is very pleas
EXTD=ing for the most part. I just feel it is lacking in its continuit
EXTD=y and motion. Judge for yourself. If you are an Ellington fan it 
EXTD=is still a recording worth owning!\n\n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nAstounding, November 14, 2001\nReviewer: charles pope (connect
EXTD=icut)\nWhatever the process was to Bring Duke Ellington,s score t
EXTD=o this film was magical...and profound. Its 1959 , and even thoug
EXTD=h some of Alex North,s scores had some jazz themes...films were n
EXTD=ot quite ready for what Mr. Ellington serves up here.\nThe scores
EXTD= edge frames the scenes and adds a distinct emotion to what we ar
EXTD=e seeing on the screen. The unexpected in riffs shows up and puts
EXTD= the viewer on alert that what we are seeing on the screen is cha
EXTD=os, witty entendre, story editing in its pure form..and stark rea
EXTD=lity with or without those panties!( riske stuff in 1959) \n\nWha
EXTD=t is the real truth also is that we are not drowned out by the de
EXTD=cibel level of this music..there is no need ..because it is pure 
EXTD=Ellington..and pure Ellington adds a sophistication and tone to t
EXTD=he characters and story line. It wouldnt be untill the mid 60,s (
EXTD= The Pawnbroker..Quincy Jones) , that a filmgoer could experience
EXTD= a dynamic score ...Bravo Ellington...\n\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nEllington's classic jazz underscored, January 11, 2001\nRe
EXTD=viewer: MilesAndTrane (Chicago, Il USA)\nEllington's 1959 debut a
EXTD=t film scoring proves an odd choice - a courtroom drama that does
EXTD=n't provide many settings suitable for orchestra / big-band jazz.
EXTD= However, Ellington as always, can pull off a "minor" masterpiece
EXTD= to say the least. The "Anatomy Of A Murder" soundtrack is just t
EXTD=hat - a soundtrack. It's really an album for lovers of both film 
EXTD=score and fine jazz, some Ellingtonians may be disappointed with 
EXTD=the wavering styles presented here. The fluidness known to exist 
EXTD=in jazz is partially absent, but Duke's lively horn arrangements 
EXTD=are still alive and effervescent. He was making movie music after
EXTD= all, meaning it couldn't really override the dialogue of the fil
EXTD=m. It therefore may sound slightly stilted and reserved for peopl
EXTD=e expecting the usual genius of Duke. There are emotions abound t
EXTD=hough; joy, fear, surprise, anger, temptation - you can hear them
EXTD= all in the orchestra. This is also some of the sexiest work Duke
EXTD= has ever produced, particularly the main theme. Jazz purists may
EXTD= dismiss it as "strip tease" music, but stretch your ears and hea
EXTD=r Ellington bending the full orchestra to his will, utilizing bas
EXTD=s clarinets and muted trumpets. It's really funny, sexy music at 
EXTD=times.\nThe remastering and repackaing job Columbia Records have 
EXTD=done with this album is incredible. The original half-hour releas
EXTD=e has been doubled in length, most of the new material previously
EXTD= unreleased. The liner notes lovingly document Ellington's journe
EXTD=y through the creation & execution of this album, as well as his 
EXTD=friendship with director Otto Preminger. This album may serve bes
EXTD=t as a recommendation for film soundtrack lovers who love jazz or
EXTD= would at least like to hear how great jazz would serve as a film
EXTD= score. By the way, the movie itself is pretty good, too.\n\n\nHa
EXTD=lf.com Details \nContributing artists: Clark Terry, Harry Carney,
EXTD= Johnny Hodges \n\nAlbum Notes\nPersonnel: Duke Ellington (piano,
EXTD= celeste); Russell Procope (alto saxophone, clarinet); Johnny Hod
EXTD=ges (alto saxophone); Jimmy Hamilton (tenor saxophone, clarinet);
EXTD= Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxopho
EXTD=ne); Shorty Baker, Clark Terry, Ray Nance, William "Cat" Anderson
EXTD= (trumpet); John Sanders, Quentin Jackson, Britt Woodman (trombon
EXTD=e); Billy Strayhorn (piano); Jimmy Woode (bass); Jimmy Johnson (d
EXTD=rums).\n\nProducer: Irving Townsend.\nReissue producer: Phil Scha
EXTD=ap.\nIncludes liner notes by Irving Townsend, Wynton Marsalis and
EXTD= Phil Schaap.\n\nDigitally remastered by Debra Parkinson (Sony Mu
EXTD=sic Studios, New York, New York).\n\nThis was Ellington's first f
EXTD=ilm score, undertaken at the urging of ANATOMY OF A MURDER's dire
EXTD=ctor, Otto Preminger. The full range of the composer's previous w
EXTD=ork was brought to bear on the 1959 work. Ellington was a natural
EXTD= choice to convey the rich and varied emotional moods of this dra
EXTD=ma. Tension and release, danger and safety, movement and stillnes
EXTD=s, darkness and light; the textural palette that was Ellington's 
EXTD=signature as a writer and arranger was always compellingly cinema
EXTD=tic.\nIn these orchestral settings, Duke's soloists (Cat Anderson
EXTD=, Clark Terry, Johnny Hodges, Harry Carney and others) shine, as 
EXTD=their playing reflects true variations on a theme in a classical 
EXTD=sense. That's not to say that this set doesn't swing as well--"Ha
EXTD=ppy Anatomy" is a short but fully cranked gallop. This is an albu
EXTD=m of rich variety and evocative writing.\n\nIndustry Reviews\nInc
EXTD=luded in Mojo's 100 Coolest Movie Soundtracks - ...The compositio
EXTD=ns underline every on-screen moment yet breathe in an environment
EXTD= well away from the front stalls...\nMojo (06/01/2002)\n\nRanked 
EXTD=#44 in EW's 100 Best Movie Soundtracks - ...Sometimes brassy, som
EXTD=etimes lurid, always brilliant...\nEntertainment Weekly (10/12/20
EXTD=01)
EXTT0=Featuring Ray Nance and Jimmy Hamilton
EXTT1=Featuring Jobby Hedges
EXTT2=Featuring Russell Procope
EXTT3=Featuring Harry Carney and Paul Gonzalves
EXTT4=Featuring Ray Nance
EXTT5=Featuring Clark Terry and Paul Gonzalves
EXTT6=
EXTT7=Featuring Shorty Baker
EXTT8=Featuring Jimmy Hamilton
EXTT9=
EXTT10=Featuring the P.I. Five
EXTT11=Featuring Jonny Hodges
EXTT12=Featuring Cat Anderson
EXTT13=Stereo Single
EXTT14=Movie Stings and Rehearsal
EXTT15=
EXTT16=Band-Studio
EXTT17=
EXTT18=Movie Stings
EXTT19=Dixieland
EXTT20=P.I.Five
EXTT21=Movie
EXTT22=Duke Ellington a la Guy Lombardo
EXTT23=Mono Single:In Stereo
EXTT24=Rehearsal/Lines/Interview/Musics/Stings/Murder
EXTT25=
PLAYORDER=
