HURRY SUNDOWN (2CD)

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CD1 01. Main Title (2:18) 02. Homecoming (4:41) 03. First Meeting (1:34) 04. Rad’s Wound (1:26) 05. Kids Sleep (1:05) 06. Love Theme (Revised) (5:49) 07. Hi Rad (0:28) 08. Welcome Suki (2:24) 09. Rose Meets Julie (3:37) 10. Rose’s Attack (1:15) 11. The Loser (2:22) 12. Hurry Sundown Theme (1:17) 13. Breakfast In Bed (2:07) 14. Bread And Jam (1:45) 15. Love Me Vivian (Original) (3:43) 16. Reeve (0:37) 17. Hurry Sundown (Choral – Film Version) (2:16) 18. Entr’acte (3:27) 19. Jubilation And Hurry Sundown Blues (3:47) 20. Henry’s Blues (1:57) 21. Vivian’s Nite Visit (1:25) 22. Julie’s Gone (With Sax Overlay) (1:59) 23. Henry’s Dream No. 1 (With Sax Overlay) (1:54) 24. Charlie’s Trip (2:49) 25. Playing With Dynamite (10:42) 26. Togetherness (3:17) 27. End Title (With Soprano Overlay) (1:14) 28. Exit Music – Hurry Sundown (Choral) (1:59) CD1 Time: 74:03

CD2 The Extras -- Alternates and Additional Cues 01. Cool It Julie – Intro (0:09) 02. Love Theme (Original) (5:48) 03. Love Me Vivian No. 2 (Revised) (1:59) 04. Julie’s Gone (1:59) 05. Henry’s Dream No. 1 (1:54) 06. Henry’s Dream No. 2 (With Sax Overlay) (0:37) 07. Henry’s Dream No. 2 (0:37) 08. Playing With Dynamite (Alternate) (10:42) 09. End Title (1:14) Time: 27:02 Saxophone Cues 10. O Henry (1:51) 11. Cool It Julie – Sax (Henry’s Theme) (2:03) 12. O Henry (Julie’s Sax Solo) (0:05) Time: 4:05 Original RCA Soundtrack Album 13. Main Title (2:19) 14. Cool It Julie (2:20) 15. Hurry Sundown (Choral – Film Version) (2:11) 16. Homecoming (2:18) 17. The Loser (2:24) 18. Love Me Vivian (3:26) 19. Charlie’s Trip (2:49) 20. Hurry Sundown (Choral) (2:01) 21. Playing With Dynamite (3:12) 22. Hurry Sundown Blues (2:00) 23. Love Theme (2:46) 24. Breakfast In Bed (2:10) 25. Interlude And End Title From Hurry Sundown (3:30) Time: 33:43 CD2 Total Time: 64:59

Tech Talk From The Producer…

Hurry Sundown ran roughly three hours when Hugo Montenegro wrote and recorded his score. For that initial cut of the picture, Montenegro composed both a rousing “Entr’acte” to play during the intermission and a special version of the main theme, “Hurry Sundown (Choral),” that could be used as “Exit Music.” Neither piece ended up in the finished picture by the time it arrived in theaters in a final cut running just under two and a half hours. The former cue was never heard from again; the latter managed to make its way on to the RCA soundtrack album that was released at the time. Both appear on this 2-CD set (CD 1, tracks 18 & 28).

Amongst the many cues Montenegro recorded that were dropped from the finished film were several beautiful versions of the love theme for Reeve (Robert Hooks) and Vivian (Diahann Carroll) after their part of the epic story was trimmed back. In fact, Montenegro also recorded alternate versions of some of these cues, making changes to how the cues ended or how long they would play for—all for naught when they were dropped entirely.

Also lost were two additional pieces that were part of the dramatic four-movement “Homecoming” sequence that opens the film. For the original album, Montenegro assembled the first segment, which appears in the film, and the third segment, which does not. We include that assembly but have also added parts two and four, presenting the premiere of the total sequence.

The score’s longest sequence, “Playing With Dynamite” (which runs nearly 11 minutes), deserves special attention. Montenegro recorded two versions that played for the same amount of time and were identical for the first half but differed musically throughout the second half. As with many other cues, this important sequence was edited down in the final cut of the film. For his original album, Montenegro chose to include the unused alternate version, but edited it down to just over 3 minutes. For our CD, we present all three versions of this powerhouse cue, with the complete, unedited version of the film take appearing on CD 1 (track 25), the full-length, unused version appearing on CD 2 (track 8) and the edited album version on CD 2 (track 21).

Another interesting aspect of the score as it appears in the film is the use of solo saxophone during a number of sequences involving leads Henry (Michael Caine) and Julie (Jane Fonda). As part of the drama, Henry once led his own jazz band, but quit— a decision he still regrets. Throughout the film he serenades Julie with his alto sax, or sometimes just plays for himself. In other scenes, he puts records on a turntable and plays along with them, usually just for mere seconds. The strictly solo saxophone cues appear as “extras” on CD 2 (tracks 10, 11 & 12). For the original Montenegro record source music, he scored each as a big band work that stands alone without the sax and separately recorded Henry’s onscreen sax parts as ad lib solos that were overlaid on top to match the visuals as needed. As such, we include these cues with the overlaid sax snippets as heard in the film on CD 1 and present them again in their standalone versions on CD 2 as extras. The one exception to this sequencing is “Henry’s Dream No. 2.” While being a totally separate take, it is a short piece identical to the preceding “Henry’s Dream No. 1” with the exception of the trombones at the end being muted in the first dream and open in the second. For purposes of musicality, the second dream plays both with the overlaid sax and without it as extras on CD 2 (tracks 6 & 7).

In addition to editing several selections chosen for the original album into shorter, tighter pieces, Montenegro also made creative record assemblies, such as with the ending of the score itself. For the album finish he edited together sections from the Entr’acte and the Interlude with the End Title itself. CD 1 presents the music as Montenegro originally recorded it in the sequences intended, while his album edit appears on CD 2 (track 25).

We offer that creative original 1967 soundtrack album in its entirety on CD 2 (tracks 13–25), newly remastered and presented in stereo from the RCA album tapes, courtesy Sony.

To present all of this rich and dramatic music for Hurry Sundown, composed and conducted by Hugo Montenegro— including all of the previously unused cues as well as the wealth of music unreleased on the original album—we were given access to all of the 35mm multi-channel scoring session masters newly transferred by Deluxe Media Audio Services (formerly Chace Audio), courtesy Paramount Pictures. Because of the large number of cues recorded and the many channels of multi-track stereo music involved, there were 42 rolls of magnetic film. Incredibly, every roll survived in magnificent condition, yielding one of the most dynamic stereo presentations of film music ever drawn from the era.

Intrada is proud to premiere the full score Hugo Montenegro fashioned for Otto Preminger’s Hurry Sundown, a picture made almost half a century ago and yet still topical today. The stirring music is, without a doubt, timeless as well.

—Douglass Fake