Limited Edition of 10,000 Copies
Film Score Monthly (FSMCD Vol. 12, No. 17)
Release Date: December 7, 2009
Conducted by Lalo Schifrin
|1.||ALBUM VERSION: Main Title||2:11|
|4.||The Aftermath of Love||2:49|
|5.||Music to Interrogate By||2:51|
|6.||On the Way to San Mateo||2:45|
|7.||Ice Pick Mike||3:00|
|8.||A Song for Cathy||2:44|
|10.||Cantana for Combo||3:05|
|11.||The First Snowfall||3:14|
|12.||Bullitt (End Title)||2:46|
|13.||FILM VERSION - REMASTERED: Main Title||3:51|
|15.||Cantana for Combo||3:06|
|16.||A Song for Cathy||2:05|
|17.||Hotel Daniels (Radio Source)||3:01|
|18.||Room 26 (Radio Source)||1:16|
|19.||The Aftermath of Love (Radio Source)||2:48|
|21.||Ice Pick Mike||3:14|
|23.||Music to Interrogate By||3:07|
|26.||On the Way to San Mateo||1:26|
|27.||The First Snowfall (Webster & Burke)||3:29|
|29.||Air Terminal - Main Lobby||2:35|
|Total Album Time:||79:44|
An essential part of the film's success was its economical, nervous jazz score; the Argentinean-born, classically trained Schifrin was then at the height of the fame generated by his iconic Mission: Impossible television theme. The film is judiciously spotted, with relatively little "action" music (the famous car chase is unscored) but several atmospheric and evocative source cues. Schifrin himself described it as "very simple" and "completely based on the blues."
Shortly after recording the film soundtrack, Schifrin led a separate recording for a Warner Bros. Records album. Jazz greats featured in those sessions include Bud Shank (flute), Ray Brown (bass), Howard Roberts (guitar) and Larry Bunker (drums). FSM presents the first U.S. release of that album on this CD, newly mixed by Mike Matessino from the original 1" eight-track master tape.
The CD also includes the never-before-released complete film soundtrack itself, recorded at the Warner Bros. scoring stage in Burbank by legendary engineer Dan Wallin. These tracks have been newly mixed and mastered from 1/2" three-track tape stored at the studio. While some score passages and cues are virtually identical to the record album, many of the film soundtrack's softer, moodier cues were not chosen for the LPor had certain passages rewritten. And some were dropped from the film itself, so have never been heard before by the publicuntil now.
The booklet includes a perceptive, in-depth essay on the film and its score by John Bender and detailed track-by-track commentary by Alexander Kaplan. Bullitt is an essential purchase for any "cool" soundtrack collection (or collector), and adds one more title to FSM's expanding catalog of scores by a living legend of film music.
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