BIG SLEEP, THE
Special Collection Volume ISC 112
Film Date: 1978
Album Date: 2009
World premiere of complete Jerry Fielding score for private eye tale! Special Collection volume limited to 1500 copies!
Price: - (Sold Out)
Doug's Tech Talk
More music for Jerry Fielding fans! World premiere of complete score from Michael Winner update of classic Raymond Chandler private eye tale with Robert Mitchum as Philip Marlowe plus all-star cast (James Stewart, Richard Boone, Joan Collins, Oliver Reed, many others.) Fielding avoids expected noir-style vernacular, instead writes bold symphonic jazz main theme, then dives into signature complex, intense music for orchestra. CD presents nearly twice as much music as previously issued "suite", mastered from mono session tapes housed in Brigham Young University archives. Nick Redman notes offer insight to composer's final score for director Winner. Reproduction of original Amsel artwork campaign completes handsome package. Jerry Fielding conducts. Intrada Special Collection release limited to 1500 copies!
Tech Talk From The Producer…
As Nick Redman’s
detailed notes point out, The Big Sleep closed the books on
a fruitful and prolific collaboration between composer Jerry
Fielding and director Michael Winner. Their work together
resulted in some of the most complex and exciting film
scores of the seventies, and The Big Sleep is a fitting coda
to that collaboration.
This release marks the first appearance of the
complete score in any format. Everything Fielding wrote for
the film is presented in original picture sequence with two
lone exceptions: One very brief cue, running approximately
45 seconds (Agnes Exits), was damaged and could not be
salvaged. The other deletion is the brief cue entitled “Little
Lady Caught” that would have been heard before “First Mars, Then Brody.” The source material
for this CD was a set of otherwise excellent condition ¼” 15 i.p.s. mono session master reels,
stored at Brigham Young University. The film itself was released in mono as well.
For optimal listening purposes, we have assembled some of the shorter cues into
longer pieces, while still adhering to the picture sequence. One sequence in the film (the big brawl
between four of the stars) was essentially tracked with music from other cues in the film, (largely
“Chasing Smut”) so we did not repeat that music on this album.
But now, the investigative work is done—pour yourself a double and enjoy the dynamic
and exciting score for The Big Sleep.