Label: Intrada Special Collection Volume ISC 223
Date: 1968
Time: 0:56:48
Tracks: 32
World premiere release of dynamic Lalo Schifrin score for Clint Eastwood actioner!

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  • More Info
  • Track List
  • Doug's Tech Talk
  • Musicians List
  • Intrada soundtrack celebration with Universal of 100 years of great cinema continues with world premiere release of top drawer Lalo Schifrin score for stylish police thriller. Eastwood takes break from his international success doing westerns with Sergio Leone, begins his legendary association with Donald Siegel in this exciting tale of Arizona deputy becoming fish out of water in big New York City, attempting to extradite prisoner back west. Lalo Schifrin scores with terrific meld of outdoor western theme trapped in tempo of urban big city bustle. Architecture of score is noteworthy: western thematic ideas launch, rhythms increase, then big city colors take over. As Coogan searches for prisoner, cool funky ideas play. Then suspense enters, ideas tighten. When action-filled climax arrives, Schifrin brings riveting chase music into spotlight, then finally wraps with return to main theme and dynamic flourish for final coda. Interestingly, for small handful of prints, film opens with Arizona locale, then as Coogan enters in speeding jeep, powerhouse low brass hammer out propulsive rhythmic motif built entirely of fortissimo major chords. Exciting idea! However, most prints (including video releases) drop exciting music altogether, introduce entirely different variant of main theme in subdued fashion, giving totally different feel to Coogan's entrance. Intrada CD proudly presents ALL music Schifrin scored for both versions of movie, including several other unused sequences, delicious source cues plus 1968 radio spots specially composed by Schifrin. Every note of music recorded by composer appears in crisp, dynamic stereo from original 1/2" three-channel stereo session elements vaulted at Universal in beautiful condition. One of Schifrin's most exciting early efforts available at last! Lalo Schifrin conducts. Intrada Special Collection release available as long as quantities and interest remain!
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    The Album
    01. Arizona Desert (1:12)
    02. Coogan's Wild Ride (1:15)
    03. Capture The Chief (0:49)
    04. Main Title Part A (0:48)
    05. Main Title Part B (2:40)
    06. The Big Apple (1:22)
    07. Small Talk (1:07)
    08. Song To Julie (2:13)
    09. Five Minutes (1:37)
    10. Getting Better (3:26)
    11. Get Out (2:49)
    12. Cartoon Background (0:33)
    13. Wrong Number (1:56)
    14. Beat Up (1:31)
    15. Green Worms (2:27)
    16. Tell Me About Arizona (3:53)
    17. "Pigeon-Toed Orange Peel" (4:30)
    18. "Everybody" (2:52)

    19. "Coogan Raga" and Pushie's Pool (4:34)
    20. Looking For Jimbo (1:00)
    21. Where's Ringerman (2:42)
    22. Ringerman's Chase (2:41)
    23. Ringerman's Chase (continued) (1:31)
    24. End Title & End Cast (0:50)
    Total Album Time: 50:35

    The Extras
    25. Main Title Part A (Version 1) (Unused) (0:47)
    26. Main Title Part B (Version 2) (Unused) (0:49)
    27. Song For Julie (Humming) (1:15)
    28. Pushie's Pool (Unedited) (0:59)
    29. Pool Room Source (Unused) (0:41)
    30. Radio Spot I (0:40)
    31. Radio Spot II (0:35)
    32. Radio Spot III (0:10)
    Total Extras Time: (6:07)

  • Tech Talk From The Producer…

    The camera pans the arizona desert. Flute and wind chimes set the idyll ic mood. A half-dressed Indian squats high in the rocks, eating. Suddenly a cloud of dust emerges from the distance. What started like a western suddenly changes gear. A jeep hurtles towards the rocks. Now come powerful trombone rhythms, a staccato burst of major chords and the appearance of Deputy Coogan. A flourish of banjos, guitars and percussion leads to a soaring French horn line—Coogan’s theme, all sturdy motion and tough business.

    That’s the way it might have been. But that stunning musical opening was entirely deleted from the finished film, leaving Coogan’s entrance unscored. (When the film aired for the first time on NBC Television, the print actually contained the dynamic trombone rhythms and introduction of Coogan’s theme, but all home video versions have since sadly returned to the unscored version.) More changes were made as well. As Coogan makes his initial capture, the credits unfold in two parts over two separate cues joined by the common “Coogan” theme. Yet the first part was re-scored no less than three times, each with a different closing cadence, before settling on version three—which also involved a change of key partway through. And when the picture returns home for the ending, most of Schifrin’s brief “End Title” was cut in favor of re-tracking “The Big Apple” in its place, sadly omitting the return to Coogan’s theme and using only the final bars of Schifrin’s original close.

    The overall shape of Schifrin’s score can be viewed as one big arch, similar to what takes place on screen. As such, the music encompasses a variety of idioms from western to eastern, journeying through outdoor desert to the urban sprawl of the Big Apple, through jazz-rockfunk and the underground dance scene right into the sixties counterculture replete with tabla and sitar. Two dynamic vocal numbers, composed and conducted by Schifrin with full big band accompaniment, get prominent main title credit. Schifrin even wrote tonguein- cheek music for a cartoon showing on a jailhouse TV, a brief sequence that was also dropped from the picture during post-production. Like the film, the score ultimately comes down to an exciting chase, with Schifrin bringing his orchestra back in bravura style.

    All of these cues are integral parts of the larger whole. In “Coogan’s Raga,” for example, the composer wrote the sitar source music so that the rapidly repeating notes at the end would actually carry over to the sustained violins of the orchestrally scored “Pushie’s Pool,” written in the same key. We wouldn’t dream of separating these two cues—and experiencing their musical impact divorced from the picture will probably make Schifrin fans delirious. But score purists need not worry—we have included “Pushie’s Pool” as a stand-alone extra.

    For our premiere presentation of the complete score for Coogan’s Bluff, we were given access to the original 1/2˝ three-channel stereo scoring session masters, housed in the Universal Pictures vaults in mint condition. Happily, we were able to locate every note of music recorded by Schifrin—including all of the aforementioned deletions and alternates (highlighted by the powerful opening trombone sequence)—in splendid threetrack stereo. The session tapes also included several other exciting discoveries. The opening portion of “Ringerman’s Chase” (subtitled “Linny’s Run” in the cue sheets) was dropped entirely but is included on this CD for the first time. And “Green Worms” turns out to be much longer than what is in the film, including a tender statement of Coogan’s theme deleted during the production.

    This CD also features some exciting extras. Aside from the unedited “Pushie’s Pool,” these include Susan Clark’s humming of Schifrin’s love theme—actually recorded during the scoring sessions—heard while she prepares spaghetti sauce. In addition to the first two unused versions of “Main Title Part A,” listeners will find a brazen “Pool Room Source” cue that was also dropped from the finished production.

    The final three extras are truly rare treats: radio spots used to promote the picture back in 1968, scored by Schifrin but recorded in a separate session under Stanley Wilson’s direction. For these cues, Schifrin used material from the film score but reduced his orchestra to trombones, guitars (electric and acoustic), electric bass and rhythm section. They make an exciting finish to one of the composer’s most varied and flavorful scores.

    Coogan’s Bluff proved to be terrific training ground for Clint Eastwood and Lalo Schifrin, and both artists could look forward to important collaborations in the years ahead. How exciting it is now to hear Lalo Schifrin and his orchestra take us back to those heady early days!

    —Douglass Fake


    Coogan's Bluff
    Recorded on March 27, 28 & 29, 1968, at Universal Pictures Scoring Stage, Universal City, California

    This soundtrack was produced in cooperation with the
    American Federation of Musicians of the United States and Canada

    Lalo Schifrin
    Stanley Wilson

    Robert Helfer

    Erno Neufeld
    Anatol Kaminsky
    Sam Freed
    Marvin Limonick
    Nathan Kaproff
    Alexander Murray
    Thelma Beach
    James Getzoff
    George Kast
    Joseph Stepansky
    Bernard Kundell
    Dorothy Wade
    David Frisina
    Irving Geller
    Herman Clebanoff
    Ambrose Russo

    Myra Kestenbaum
    Virginia Majewski
    Allan Harshman
    Robert Ostrowsky
    Alvin Dinkin
    Myer Bello

    Edgar Lustgarten
    Raphael Kramer
    Eleanor Slatkin
    Justin DiTullio
    Frederick Seykora
    Marie Fera
    Emmet Sargeant
    Margaret Aue
    Harold Schneier

    Raymond Brown
    Charles Berghofer

    Clifford E. Shank
    Ronald Langinger
    Sheridon Stokes

    Vincent De Rosa
    Richard Perissi
    David Duke

    Lloyd Ulyate
    Richard Noel
    George Roberts
    Richard Nash

    Emil Radocchia
    Larry Bunker
    Shelly Manne
    Earl Palmer
    Kenneth Watson
    Alvin Stoller

    Milton Holland

    Dorothy Remsen
    Catherine Gotthoffer

    Michael Lang
    Caesar Giovannini

    Ralph Grierson

    Paul Beaver

    Artie Kane
    Michael Melvoin

    Howard Roberts
    Thomas Tedesco
    Robert Bain
    Alton Hendrickson
    Dennis Budimir
    Alvin Casey
    Michael Deasy

    Carol Kaye

    Elisabeth Waldo

    Laurindo Almeida

    Lalo Schifrin
    Richard Hazard

    Milton Rosen
    Albert Lisi
    Terry Wolff

    Irwin Coster