Artist: Duke Ellington
Album: Anatomy Of A Murder (From the Soundtrack of the Motion Picture)
Release Date: 1959/2019
Audio Format:: FLAC (tracks) 24 bit, 192 kHz
Total Tracks: 13
Total Size: 1,11 GB
1. Duke Ellington – Main Title and Anatomy of a Murder (03:55)
2. Duke Ellington – Flirtibird (02:14)
3. Duke Ellington – Way Early Subtone (04:01)
4. Duke Ellington – Hero to Zero (02:15)
5. Duke Ellington – Low Key Lightly (03:40)
6. Duke Ellington – Happy Anatomy (02:33)
7. Duke Ellington – Midnight Indigo (02:44)
8. Duke Ellington – Almost Cried (02:29)
9. Duke Ellington – Sunswept Sunday (01:55)
10. Duke Ellington – Grace Valse (02:34)
11. Duke Ellington – Happy Anatomy (P.I. Five) (01:29)
12. Duke Ellington – Haupe (02:41)
13. Duke Ellington – Upper and Outest (02:20)
The 1959 courtroom crime drama “Anatomy of a Murder” was directed by Otto Preminger and adapted by Wendell Mayes from the best-selling homonymous novel written by Michigan Supreme Court Justice John D. Voelker under the pen name Robert Traver.The film stars James Stewart, Lee Remick, Ben Gazzara, Eve Arden, and George C. Scott. “Anatomy of a Murder” was one of the first mainstream Hollywood films to address sex and rape in graphic terms. It includes one of Saul Bass’s most celebrated title sequences, and a musical score, presented here in its entirety,composed and performed by Duke Ellington and Billy Strayhorn. Ellington himself plays a character in the film, called Pie-Eye.
In 2012, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. Duke Ellington’s score won three Grammy Awards in 1959, for Best Performance by a Dance Band, Best Musical Composition First Recorded and Released in 1959 and Best Sound Track Album.
“Rarely has such sumptuous jazz been married to a film soundtrack. Written in 1959 for director Otto Preminger’s courtroom drama of sex and jealousy, the burnished glow of Ellington’s score is undeniably erotic – indeed, the powerfully charged, slow burn of the second track here, “Flirtibird,” is among Ellington’s most sensual recordings.
Classic film scores build on recurring motifs that identify characters and situations, amplifying their existence for the viewer through the sense of hearing. The “flirty bird” of the title – Lee Remick’s Laura Manion – is evoked early on by a six-note phrase, with emotional hues that undergo dramatic changes every time it reappears along the score’s course. “Way Early Subtone” expands on that phrase in a passionate, extended coda that tries to rekindle the flame; by the time of “Almost Cried,” the melody has taken on a deep, hard-edged sadness.