Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Frantic Nightwatch/Killer by Night Gremlins
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
LOG IN
Forgot Login?
Register
Composer:
Keyword:
Line:
Month:
Year:
 
All Titles
Graphical | Text Only
Recent Releases
Graphical | Text Only
Golden Age Classics
Graphical | Text Only
Silver Age Classics
Graphical | Text Only
Retrograde Records
Graphical | Text Only
Box Sets
Graphical | Text Only
Composers
Site Map
Visits since
February 5, 2001:
14916936
© 2014 Film Score Monthly.
All Rights Reserved.
Return to FSM CDs Previous CD | Next CD
The Split (1968)
Music by Quincy Jones
The Split The Split
Click to enlarge images.
Price: $19.95
Limited #: 1500
View CD Page at SAE Store
Line: Silver Age
CD Release: June 2009
Catalog #: Vol. 12, No. 13
# of Discs: 1

Quincy Jones has transcended his one-time occupation as a film composer through his diverse pursuits in jazz, film and media—he is a bona fide celebrity and one of the most important personalities in popular music. So it is only natural that his impact on film is often overlooked—but in the late 1960s and early ’70s, he was one of the hottest composers going, with a jazzy and modern style that elevated such important pictures as The Pawnbroker, In Cold Blood and In the Heat of the Night, and also worked wonderfully on lesser-known and genre projects.

One such film was The Split (1968), like Point Blank (FSMCD Vol. 5, No. 8) an M-G-M adaptation of a Richard Stark “Parker” book—here The Seventh—but without the arty aspirations. Jim Brown stars as “McClain,” who leads a ragtag group of underworld thugs (including Ernest Borgnine, Jack Klugman, Warren Oates and Donald Sutherland) in a robbery of the L.A. Coliseum during an NFL game—but while the caper goes as planned, dividing the proceeds up afterwards leads to bloodshed and strife. Gene Hackman appears late in the film in a pivotal role as a detective.

Quincy Jones was famously the first African-American composer to have a major career in the previously lily-white world of film scoring—and remarkably resisted typecasting inasmuch as he scored many important films where race was a non-factor. Still, urban settings (with their racial implications) brought out some of his most dynamic work, and The Split is a pulsating, funky and tuneful score with a riveting array of jazz and modernist effects. It is Jones in full-fledged They Call Me MISTER Tibbs! territory—angular, funky and irresistible, with several vocal source and score cues to boot.

FSM’s premiere CD of the complete score to The Split is mastered from the original ½” three-track stereo masters for excellent sound quality. The copious liner notes by Scott Bettencourt and Alexander Kaplan give a thorough background on the literary world of Richard Stark (a pseudonym for Donald E. Westlake) and this film adaptation.

Quincy Jones Scores on FSM
About the Composer

Quincy Jones (b. 1933) is one of the most important figures in music and modern media history, not only as a composer but also a performer and a producer (as on Michael Jackson's Off the Wall and Thriller records). As a film composer he was most active in the 1960s and early '70s, when he scored not only black-themed pictures (In the Heat of the Night, They Call Me MISTER Tibbs!) but acclaimed and important productions like The Pawnbroker and In Cold Blood not related to race—becoming the first African-American composer to achieve major success in the field. For television, he wrote the popular themes to Ironside and Sanford and Son, among others. Although best-known for his jazz scores, his style was not so much jazzy as modern, updating the grammar of dramatic music. His 1962 "Soul Bossa Nova" became popular as the "theme" for Austin Powers over three decades later. IMDB

Comments (14):Log in or register to post your own comments
This score is so outrageously funkalicious, I challenge anyone to remain seated while listening to it. If you can accomplish that feat, I'll call you a hearse, 'cause you ain't got a pulse.

Hi Lukas & FSM,

just wanted to let you know that a fellow records & soundtrack collector and DJ in Berlin told me recently that, for him
"THE SPLIT is the best CD which was ever produced" !!!!

Literally! Ever!

He normally doesn't buy CDs, but vinyl only, used or new - but since I know that he's totally into 60s and 70s funk soundtracks and similar stuff and digs the great Q a lot, I pointed him to that album the moment the sound clips appeared online at SAE.

Luckily with the biggest possible effect.

Needless to say, I myself love the album immensely as well and there's a very good chance that at the end of the year it will be my favourite soundtrack release of 2009. I'm listening to THE SPLIT nearly every day since its release.
A fantastic album!

Just for absurdity's sake - the German film title was called in typically ridiculous fashion back then:
"Bullen - wie lange wollt ihr leben?" (Cops - How Long Do You Want To Live?)

Listening to it right now, and enyoing it greatly. What a score! Where are scores like these today, that really thrill me? Love it!

Listening to it right now, and enyoing it greatly. What a score! Where are scores like these today, that really thrill me? Love it![/endquote]

Try to listen clips from Jean-Michel Bernard´s CASH. Great jazzy/funky score:

http://www.screenarchives.com/title_detail.cfm?ID=9917

Making of soundtrack Cash-composer Jean-Michel Bernard (in French language):

[youtube]http://www.youtube.com/watch?v=TCD-wEGLVMs[/youtube]

And second tip: JCVD by Gast Waltzing
http://www.screenarchives.com/title_detail.cfm?ID=11696

CASH really is a top notch score. If you enjoy jazzy and funky, this is a must have in your collection. I have also recently purchased Alex Wurman's CRIMINAL. Again, a really enjoyable listen in a similar vein. I also have ANALYZE THAT by David Holmes, which I have yet to listen to, but from the previous sound clips I have heard, this will be an equally enjoyable listening experience. I also have THE SPLIT, but I am going to savour the anticipation of listening to it for as long as possible.

Listening to it right now, and enyoing it greatly. What a score! Where are scores like these today, that really thrill me? Love it![/endquote]

I'll play the heretic - I could do without the songs, mostly. The orchestral selections are topnotch, of course.

Chris, I LOVE the main title song, but the other one is marginal. I'm just glad to get a Quincy Jones
score that is COMPLETE at long last. If Universal has been breached, I'd be overwhelmed if someone
ever released his wild, jazzy score for the unofficial remake of MIRAGE, JIGSAW.

By the way, TCM is running the weird Sidney Poiter flick this week, BROTHER JOHN, which features a
rather good Jones effort. (I think it's a middle of the night showing, so check your local schedule.)

I love the main title song too! I might play it in one of my future radio shows. Quite catchy!

I just love all the songs and score on this one.
Awesome CD.
Thanks FSM.

"The Split" has been issued on MOD DVD-R by the Warner Archive.



http://www.wbshop.com/on/demandware.store/Sites-WB-Site/default/Search-Show?q=1000277709&adid=0312WACNRaEml&src=EW0312A

View more comments   |   view last
Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
Robert Armbruster, Quincy Jones

Violin:
Leonard Atkins, Harry Bluestone, Henry Arthur Brown, Bobby Bruce (aka Robt. Berg), Salvatore Crimi, Elliot Fisher, Jerome Kasin, Bernard Kundell, Alfred Lustgarten, Joy Lyle (Sharp), Lou Raderman, Sally Raderman (aka Sarah Kreindler), Ambrose Russo, Ralph Silverman, Dorothy M. Wade (Sushel), Heimann Weinstine, Walter S. Wiemeyer

Viola:
Cecil Figelski, Allan Harshman, Virginia Majewski, Reuben Marcus

Cello:
Marie Fera, David Filerman, Hyman Gold, Lester Harris, Jan R. Kelley, Raphael "Ray" Kramer, Walter Rower, Eleanor Slatkin, Gloria Strassner

Bass:
Max R. Bennett, James E. Bond, Jr., Raymond M. "Ray" Brown, Clyde Hoggan, Stephens LaFever, Joseph Mondragon

Woodwinds:
Gil Bernal, William H. Calkins, Gene Cipriano, William E. Green, James R. Horn, Harry Klee, Ethmer Roten, Thomas W. Scott, C. E. "Bud" Shank

French Horn:
John W. "Jack" Cave, James A. Decker, Vincent N. DeRosa, William A. Hinshaw, Arthur Maebe, Jr., James M. McGee, Henry Sigismonti

Trumpet:
Marion "Buddy" Childers, Uan Rasey, Raymond Triscari, Graham Young

Trombone:
Robert Knight, Lewis Melvin McCreary, Richard Noel, Barrett O'Hara, Frank Rosolino, Kenneth Shroyer, Ernie Tack, Donald G. Waldrop

Tuba:
John T. "Tommy" Johnson

Piano:
Eugene S. Di Novi, Artie Kane, Michael A. Lang, Don Randi, Michael Rubini

Organ:
Paul Beaver, Mitchell H. Ellis, Billy Preston

Guitar:
Arthur Adams, Michael J. Anthony, Robert F. Bain, Dennis Budimir, Alton R. "Al" Hendrickson, Carol Kaye, Stephens LaFever, Thomas "Tommy" Tedesco

Harp:
Catherine Gotthoffer (Johnk)

Drums:
Larry Bunker, Frank L. Carlson, Ralph Collier, Richard Cornell, Gene Paul Estes, Paul N. Humphrey, Sheldon "Shelly" Manne, Emil Radocchia (Richards), Jerry D. Williams

Orchestra Manager:
Gerald C. Whelan

© 2014 Film Score Monthly. All Rights Reserved.