1928年2月、ブロンクスで生まれたジェラルド・フリードは、ニューヨークのハイスクール・オブ・ミュージック＆アートで音楽への興味を持つようになる。ジュリアード音楽院でオーボエを専攻し、1945年に卒業した。初期の友人にはスタンリー・キューブリックがいた。フリードはクラシック音楽、キューブリックは映画製作というように、2人はよくグリニッジ・ヴィレッジをぶらつき、お互いの興味の芽生えを語り合っていた。キューブリックがボクシングを題材にした18分の短編映画「DAY OF THE FIGHT」の撮影を開始したとき、2人の興味は融合した。キューブリック監督は、フリードが音楽を専攻していることを知っていたため、「このボクシング映画の音楽を作ってくれないか」と頼みました。当時は映画音楽の学校も講座もなかったので、フリードは数カ月かけて映画館に通い、映画音楽がどのように機能するかを学んだ。フリードは効果的な楽譜を書き、キューブリックはこの映画をRKOパテに売却した。フリードはキューブリックと再会し、『現金に体を張れ』『突撃』など、キューブリック監督作品4本のスコアを担当し、若き映画監督の名声を高めた。
Dragon's Domain Records は、ジェラルド・フリードが『CRY BABY KILLER』と『機関銃ケリー』のために作曲した楽曲を、初めてCDに収録した『GERALD FRIED: THE CRIME DRAMAS』をリリース。この楽曲は、Digital Outland のジェームズ・ネルソンによってマスタリングされ、ライナーノーツは G.B. ケンマーとスコット・デイビスによって執筆されています。 限定盤。
Dragon's Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography, CRY BABY KILLER and MACHINE-GUN KELLY, two early crime dramas produced by Roger Corman and released in 1958.
Released in 1958, CRY BABY KILLER was directed by Justus Addiss, starring Jack Nicholson in his film debut, along with Brett Halsey, Carolyn Mitchell, Harry Lauter, Lynn Cartwright, Ralph Reed, John Shay, Barbara Knudson, William A. Forester, John Weed and an uncredited Roger Corman. CRY BABY KILLER follows Jimmy Wallace (Nicholson) as he confronts Manny (Halsey) and his friends after being beaten up by them over a girl named Carole (Mitchell). Jimmy challenges Manny to a fight outside a cafe but during the struggle, Jimmy grabs a gun from one of Manny's friends. After firing off some shots, a nearby police officer corners Jimmy and he is forced to take hostages. A tense standoff ensues...
Also released in 1958, MACHINE-GUN KELLY was directed by Roger Corman, starring Charles Bronson, Susan Cabot, Morey Amsterdam, Richard Devon, Jack Devon, Jack Lambert, Frank De Kova, Connie Gilchrist, Wally Campo, Barbara Morris, Lori Martin, Michael Fox and Larry Thor. MACHINE-GUN KELLY chronicles the criminal activities of the real-life gangster George ‘Machine-Gun' Kelly and features Charles Bronson in his first lead in a feature film. In the film, George Kelly, nicknamed ‘Machine-Gun' by his partner in crime, Flo Becker (Cabot), robs a bank and then achieves status as a public enemy. Tensions soon rise among his inner circle, and Kelly becomes easily manipulated by Flo. After a botched robbery leaves their partner, Michael Fandango (Amsterdam) without an arm, Kelly is influenced by Flo to kidnap the daughter of a wealthy businessman for ransom. Fandango reveals Kelly's identity to the police only to be killed by one of Kelly's other associates as the house is surrounded. Ultimately, Kelly intends to surrender to receive a more lenient sentence and avoid execution. However, Flo questions his courage, leading to a final confrontation.
Fried's scores for these projects were masterfully composed for jazz ensembles, featuring some of Hollywood's most accomplished studio musicians of that era. In CRY BABY KILLER, the title song stands out, written and performed by the talented Dick Kallman, who, alongside Fried, brought the piece to life through intricate arrangements and production that resonated with the film's edgy themes. The scores themselves utilize Jazz not only as a rhythmic and propulsive force but also as a dynamic backdrop that enhances the film's action sequences, along with rich, sensual interludes that highlight the performances of the female leads.
Born February, 1928 in the Bronx, Gerald Fried's interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried's in classical music and Kubrick's in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathe. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation.
After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN'S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television.
Dragon's Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried for CRY BABY KILLER and MACHINE-GUN KELLY for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by G.B. Kenmer and Scott Davis.
GERALD FRIED: THE CRIME DRAMAS is a limited edition release.
ジェラルド・フリード（『００１１ナポレオン・ソロ』、『スタートレック』、『ルーツ』）が作曲した、彼の膨大なフィルモグラフィーの中から 2 本の映画『CRY BABY KILLER』と『機関銃ケリー』の音楽を収録した『GERALD FRIED: THE CRIME DRAMAS』がリリース！
トラックリスト1958年に公開された『CRY BABY KILLER』は、ジャスティス・アディス監督、ジャック・ニコルソンが映画デビュー、ブレット・ハルシー、キャロリン・ミッチェル、ハリー・ラウター、リン・カートライト、ラルフ・リード、ジョン・シェイ、バーバラ・クヌッドソン、ウィリアム・A・フォレスター、ジョン・ウィード、そしてクレジットには記載されていないロジャー・コーマンが出演しています。『CRY BABY KILLER』は、ジミー・ウォレス（ニコルソン）が、キャロル（ミッチェル）という少女をめぐってマニー（ハルシー）とその仲間たちに暴行を受けた後、彼らと対決する物語です。ジミーはカフェの外でマニーに決闘を挑むが、争いの最中に、ジミーはマニーの仲間の1人から銃を奪う。数発の発砲の後、近くにいた警察官がジミーを追い詰め、彼は人質を取ることを余儀なくされる。緊張した対立が続く...
同じく1958年に公開された『機関銃ケリー』は、ロジャー・コーマン監督、チャールズ・ブロンソン、スーザン・キャボット、モリー・アムステルダム、リチャード・デボン、ジャック・デボン、ジャック・ランバート、フランク・デ・コヴァ、コニー・ギルクリスト、ウォーリー・カンポ、バーバラ・モリス、ロリ・マーティン、マイケル・フォックス、ラリー・ソーが出演しています。『機関銃ケリー』は、実在のギャング、ジョージ・“マシンガン”・ケリーの犯罪活動を記録した作品で、チャールズ・ブロンソンが長編映画で初めて主演を務めています。この映画では、共犯者のフロー・ベッカー（キャボット）から“マシンガン”のニックネームを付けられたジョージ・ケリーが、銀行強盗を行い、公の敵としての地位を確立します。彼の仲間たちの間では緊張が高まり、ケリーはフローに簡単に操られるようになる。強盗の失敗で仲間のマイケル・ファンダンゴ（アムステルダム）が片腕を失った後、ケリーはフローの影響を受けて、裕福な実業家の娘を身代金目的で誘拐する。ファンダンゴはケリーの正体を警察に明かすが、その家を取り囲んだケリーの他の仲間たちに殺されてしまう。最終的にケリーは、より軽い刑を求めて自首し、死刑を回避するつもりだった。しかしフロは彼の勇気を疑い、最終的な対立へと至る。
フリードのこれらのプロジェクトのためのスコアは、ジャズ・アンサンブル向けに巧妙に作曲され、当時のハリウッドで最も優れたスタジオミュージシャンたちが参加しています。CRY BABY KILLERでは、タイトル曲が目立っており、才能豊かなディック・カルマンが作曲・演奏を手がけ、フリードと共に、映画のエッジの効いたテーマと共鳴する複雑なアレンジとプロデュースで作品を完成させました。これらのスコアは、ジャズを単なるリズムや推進力としてだけでなく、映画のアクションシーンを強化するダイナミックな背景として活用し、女性主演俳優の演技を際立たせる豊かな官能的なインターリュードも含まれています。
1928年2月、ブロンクスで生まれたジェラルド・フリードは、ニューヨークのハイスクール・オブ・ミュージック＆アートで音楽への興味を持つようになる。ジュリアード音楽院でオーボエを専攻し、1945年に卒業した。初期の友人にはスタンリー・キューブリックがいた。フリードはクラシック音楽、キューブリックは映画製作というように、2人はよくグリニッジ・ヴィレッジをぶらつき、お互いの興味の芽生えを語り合っていた。キューブリックがボクシングを題材にした18分の短編映画「DAY OF THE FIGHT」の撮影を開始したとき、2人の興味は融合した。キューブリック監督は、フリードが音楽を専攻していることを知っていたため、「このボクシング映画の音楽を作ってくれないか」と頼みました。当時は映画音楽の学校も講座もなかったので、フリードは数カ月かけて映画館に通い、映画音楽がどのように機能するかを学んだ。フリードは効果的な楽譜を書き、キューブリックはこの映画をRKOパテに売却した。フリードはキューブリックと再会し、『現金に体を張れ』『突撃』など、キューブリック監督作品4本のスコアを担当し、若き映画監督の名声を高めた。
1956年の「現金に体を張れ」の成功後、キューブリックはロサンゼルスに移り住み、まもなくフリードも雇われ、いくつかの映画の作曲と編曲を担当することになった。1960年代に入ると、フリードはテレビ界に進出し、「ギリガン君ＳＯＳ」「００１１ナポレオン・ソロ」「ミッション：インポッシブル」「スター・トレック」のエピソードを作曲した。1970年代に入ると、フリードは数多くのテレビ映画の音楽を手がけるようになった。この10年間で最も有名な作品は、1977年のミニシリーズ「ＲＯＯＴＳ／ルーツ」で、クインシー・ジョーンズが8時間のミニシリーズの放送期限に間に合わなかったため、彼が作曲を引き継いだものである。ジョーンズとフリードは、このシリーズでの音楽的努力によりエミー賞を受賞した。1980年代には、フリードはテレビシリーズ、映画、ドキュメンタリー、そして時折の劇場用映画のための音楽を継続して作曲しました。これらは、フリードがキャリアを通じて作曲した数多くの素晴らしいスコアのうちの2つに過ぎません。作曲家は2023年2月17日に95歳で逝去。彼の作品は、作曲の芸術への才能と献身を証明するものであり、映画とテレビの音楽の進化における重要な人物として記憶されています。
Dragon's Domain Records は、ジェラルド・フリードが『CRY BABY KILLER』と『機関銃ケリー』のために作曲した楽曲を、初めてCDに収録した『GERALD FRIED: THE CRIME DRAMAS』をリリース。この楽曲は、Digital Outland のジェームズ・ネルソンによってマスタリングされ、ライナーノーツは G.B. ケンマーとスコット・デイビスによって執筆されています。
限定盤。
Dragon's Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for two films from his extensive filmography, CRY BABY KILLER and MACHINE-GUN KELLY, two early crime dramas produced by Roger Corman and released in 1958.
Released in 1958, CRY BABY KILLER was directed by Justus Addiss, starring Jack Nicholson in his film debut, along with Brett Halsey, Carolyn Mitchell, Harry Lauter, Lynn Cartwright, Ralph Reed, John Shay, Barbara Knudson, William A. Forester, John Weed and an uncredited Roger Corman. CRY BABY KILLER follows Jimmy Wallace (Nicholson) as he confronts Manny (Halsey) and his friends after being beaten up by them over a girl named Carole (Mitchell). Jimmy challenges Manny to a fight outside a cafe but during the struggle, Jimmy grabs a gun from one of Manny's friends. After firing off some shots, a nearby police officer corners Jimmy and he is forced to take hostages. A tense standoff ensues...
Also released in 1958, MACHINE-GUN KELLY was directed by Roger Corman, starring Charles Bronson, Susan Cabot, Morey Amsterdam, Richard Devon, Jack Devon, Jack Lambert, Frank De Kova, Connie Gilchrist, Wally Campo, Barbara Morris, Lori Martin, Michael Fox and Larry Thor. MACHINE-GUN KELLY chronicles the criminal activities of the real-life gangster George ‘Machine-Gun' Kelly and features Charles Bronson in his first lead in a feature film. In the film, George Kelly, nicknamed ‘Machine-Gun' by his partner in crime, Flo Becker (Cabot), robs a bank and then achieves status as a public enemy. Tensions soon rise among his inner circle, and Kelly becomes easily manipulated by Flo. After a botched robbery leaves their partner, Michael Fandango (Amsterdam) without an arm, Kelly is influenced by Flo to kidnap the daughter of a wealthy businessman for ransom. Fandango reveals Kelly's identity to the police only to be killed by one of Kelly's other associates as the house is surrounded. Ultimately, Kelly intends to surrender to receive a more lenient sentence and avoid execution. However, Flo questions his courage, leading to a final confrontation.
Fried's scores for these projects were masterfully composed for jazz ensembles, featuring some of Hollywood's most accomplished studio musicians of that era. In CRY BABY KILLER, the title song stands out, written and performed by the talented Dick Kallman, who, alongside Fried, brought the piece to life through intricate arrangements and production that resonated with the film's edgy themes. The scores themselves utilize Jazz not only as a rhythmic and propulsive force but also as a dynamic backdrop that enhances the film's action sequences, along with rich, sensual interludes that highlight the performances of the female leads.
Born February, 1928 in the Bronx, Gerald Fried's interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried's in classical music and Kubrick's in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathe. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation.
After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN'S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television.
Dragon's Domain Records presents GERALD FRIED: THE CRIME DRAMAS, featuring music composed by Gerald Fried for CRY BABY KILLER and MACHINE-GUN KELLY for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by G.B. Kenmer and Scott Davis.
GERALD FRIED: THE CRIME DRAMAS is a limited edition release.
2025/8/25の週発売
CRY BABY KILLER
1. Main Title - Cry, Baby Cry (2:12)
2. Fugue (1:32)
3. Rock, Baby Rock (3:34)
4. Calypso Girlfriend (1:52)
5. Come in Out of the Rain (3:39)
6. The Shack and the Boy (1:45)
7. Lonely Rhapsody (2:21)
8. Tender (2:22)
9. Still Lonely and Waiting (1:29)
10. Love Me Awhile (2:16)
11. Violence (1:28)
12. Cry Baby Mambo (3:53)
13. Last Chance (1:00)
14. End Title - Cry, Baby, Cry (1:33)
MACHINE GUN KELLY
15. Main Title (1:49)
16. Robbery (1:39)
17. Escape (2:46)18. Lion (1:59)
19. Tiptoe (3:13)
20. Charleston (2:50)
21. God of Death Fandango (2:23)22. Blues (2:59)
23. Convertible Bank (4:47)
24. Crossbones (:51)
25. Hot (2:37)26. Kidnapping (2:12)
27. Butterfly Waltz (4:07)
28. Good Man Rhumba (4:17)
29. Bar (2:28)30. Flight (1:60)
31. Pick-Up (1:57)
32. Sleeping - End Title (2:48)
Total Time: 78:47