Wow! Exciting Henry Mancini score finally gets released! 1981 action-filled Disney comicbook superhero tale directed by Charles Jarrott, starring Michael Crawford, Oliver Reed, Barbara Carrera inspires Henry Mancini to write one of his most exciting, energetic scores of his career. Mancini anchors with robust "Condorman" theme (including fun chorus), then tackles profuse action scenes with dynamic, propulsive action material for full orchestra. Powerful trombone lines, aggressive rhythms, fanfares for trumpets all get spotlight! Music for killer Morovich is especially aggressive. In contrast, Mancini creates one of his gentlest, most heartfelt pretty themes for Natalia, given particular prominence in beautifully-scored "Free Single Woman". Interestingly, due to licensing, not a note of this splendid score has ever been released before, not even as a single theme on one of the numerous Mancini compilations of the era. Now, through courtesy of Disney, Intrada presents entire score (plus several extras) in crisp, punchy stereo, direct from multi-track scoring session masters stored in mint condition in Disney vaults. Colorful artwork, too! Henry Mancini conducts. Intrada Special Collection release available while quantities and interest remains! SOLD OUT!
The Extras 21. Mummy Tummy (3:06) 22. Mummy Tummy (Alt.) (2:15) 23. Belly Dance (2:56) 24. Walk On Ice (0:48) 25. Accordion Dance (1:49) 26. Russian Party Dance (1:50) 27. Son Of Russian Party Dance (2:55) 28. Condorman Logo (Outtake) (0:32) Total Extras Time: 14:21
Tech Talk From The CD Producer…
The scoring sessions for Condorman were originally recorded directly onto 35mm three-channel magnetic film from January through early March 1981. After mixing and dubbing for the picture were completed, the multitrack session elements were vaulted at Disney. Two years later, in November 1983, these masters were transferred onto digital tape for long-term storage.
For this world premiere release of Henry Mancini’s dynamic score in vivid stereo sound, the Disney engineering crew made new digital transfers of the entire multi-track sessions for Intrada. Happily, every session roll survived in beautiful condition, including the choral "Con-dor-maaaaan" overdub sessions held after the orchestra sessions had been completed. The synthesized "whizzes" were actually rehearsed and recorded live onto 35mm film and these rolls also survived intact. With all of these disparate elements in hand we were now able to create brand new two-track stereo mixes for the first time ever, all from superb firstgeneration master elements.
The entire score is presented on this CD, including full-length versions of cues as written and recorded by Mancini prior to the picture’s post-production editing. A couple of cues were simply re-tracked into later scenes ("It Was Nothing," "Fish Eye") and the music written for "Eiffel Tower Flight" was dropped in favor of re-using the last portion of the "Condorman Main Title." For the "End Title," a few seconds from "Natalia’s Theme" were quickly faded in and out prior to the start of the actual end title. We have not attempted to recreate the film edits and are presenting the score as originally recorded.
The extras section of our CD offers the numerous source pieces Mancini composed for various international party and dance sequences throughout the film. The final extra ("Condorman Logo"), written for the opening of the film, was dropped in favor of some electronic sound effects unrelated to the Mancini score. We use it to bring the CD to a satisfying and musically dramatic close.
The score offers ample amounts of Mancini’s trademark melody and color, particularly the haunting theme written for Natalia. The action sequences are equally rewarding. As evidenced by the complete session masters, even with L.A.’s finest session players, numerous action cues required multiple takes to nail down polished performances. They are energetic pieces and kept brass players, especially the trombonists playing in unison, unusually busy.
And finally, a fun note about these sessions, demonstrating the respect and affection players had for this wonderful musician. Even during normally stressful moments when problems occurred, Mancini would frequently laugh, keep everyone’s spirits high and move right on with another take, often poking fun at himself, no less. One humorous example:
"You have to record this cue wild, Hank."
"I do? Why?"
"Because they cut the scene from the picture!"
"Then why I am recording the cue? It isn’t that good!!"(Laughter)
Scoring his first picture in which a comic book hero becomes real was obviously a treat for this most gifted of composers. And in a world today heavily populated by fictional superheroes, Henry Mancini will always be one for real.
Recorded on January 29, March 16, 17 and 18, 1981, at Disney Studios, Burbank, California.
Louise DiTullio (Dissman)
Arthur C. Smith
Robert W. Cooper
Earle D. Dumler
Jack O. Marsh
Vincent De Rosa
Arthur N. Maebe
Walter I. Johnson
Oscar J. Brashear
Terry C. Woodson
John T. Johnson
Emil J. Radocchia
Stanley E. Plummer
Samuel D. Cytron
Thelma L. Beach
Linda N. Rose
Jack L. Pepper
Carole S. Mukogawa
Ronald B. Cooper
Ernest F. Ehrhardt
Raymond J. Kelley
Jerome A. Kessler
Robert K. Stone