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G. Gruntz/ B. Wilen/ K. Clarke - Jazz Sound-Track from Mental Cruelty
Jazz-Sound-Track-from-Mental-Cruelty_A
Jazz-Sound-Track-from-Mental-Cruelty_B
S 01
Track
 
 
Time
01
Main Theme
(Leitmotiv)
1:55
02
Blues And Theme
(Blues und Thema)
2:47
03
Students` Hang-out
Studentenkeller I
1:06
04
Morning After The Wedding Night
(Morgen nach der Hochzeitsnacht)
1:27
05
Music For Night Children
(In der Bar)
5:22
06
Romance I
(Liebesszene I)
1:00
07
Jazz Appreciation I
(Ted Motiv I)
3:24
08
Stroll On Theme
Spaziergang I
1:10
09
Students` Hang-out II
(Studentenkeller II)
1:18
S 02
Track
 
 
Time
01
Jazz Appreciation II
(Ted Motiv II)
3:27
02
Good Time Joe
(Joe)
0:40
03
Swiss Tease
(Strip Tease)
1:27
04
Romance Main Theme
(Liebesszene Thema)
3:28
05
Latin Stroll On Theme
(Spaziergang II)
0:40
06
Spanish Castles
(Spanische Reisepläne)
2:43
07
Nick And Marlene
(Nick und Marlene)
2:02
08
The Proposal
(Heiratsantrag)
4:50
09
Final Theme
(Schlußmusik)
0:23
George Gruntz – piano,  Barney Wilen – tenor sax, soprano sax,  Marcel Peeters – alto sax, flute, 
Raymond Court – trumpet, Karl Theodor Geier - bass, Kenny Clarke, drums

Composed by George Gruntz, full soundtrack version, recorded 1960,
transferred from the master tapes by George Gruntz,
Shorter version released 1960 on a lost 10inch LP (German Decca Records - immediately withdrawn upon release)

Final mastering in 2011 by Jury Lutz at 24 bit/ 48 khz

Release Date: 01.07.2011
The Film

„Mental Cruelty“ tells of the marital conflict of a young Swiss couple. Waiting in the corridor of the court for divorce proceedings to begin, Nick and Marlene – in a series of flashbacks – relive the moments that led to their marriage but finally also brought about its failure. There are nostalgic reminiscenses of days of happiness, but also a merciless recapitulation of character clashes, unfortunate circumstances and negative influences. These, in the end, succeeded in wrecking what, under more favourable conditions, might well have developed into a perfectly normal and happy marriage. This is the first German-language feature film of its kind to make use of a jazz-score to enhance the modern realism of its message.


The Music

„Main Theme is an opening statement summing up the overall atmosphere of the film with its sound of modern everyday life, tempered with a touch of romanticism but also with unmistakable tragic undertones. „Blues And Theme“ at first captures the bluesy feeling of a conversation in a parked car at night, with Barney Wilen playing an unusually full soprano-saxophone. The mood changes as the piano introduces the gently swinging love theme, symbolically stated as a duet between Wilen and Peeters. Raymond Court forcefully improvises on a riff-like background provided by Wilen and Peeters – illustrating a scene in which Ted blows along with the music of a portable phonograph in the „Students` Hang-out“. A Soprano – flute duet between Wilen and Peeters paints a slightly melancholy mood created by the dawn of reality after the romantic glow of the young couple`s wedding night („Morning After The Wedding Night“). Music For Night Children“ offers the freest set of swinging improvisations. After an ensemble opener, the order of soloists is the following: Peeters (alto), Gruntz (piano), Wilen (tenor), Court (trumpet), and Clarke (drums). „Klook“ and Gruntz then trade fours and the ensemble wraps it up with a re-statement of the theme. Barney Wilen on tenor dominates „Jazz Appreciation I“, the first of two pieces meant to describe record sessions, popular features in the night life of modern young people. Marcel Peeters on flute is the soloist in „Jazz Appreciation II“. „Good Time Joe“ livens up the scene with three blowing chorusses on trumpet by Raymond Court, the first only with bass and drums, the second and third with piano added. The small hours of the morning bring a slightly jaded strip by one of the girls at a party to an exotic beat and the strains of Wilen`s soprano („Swiss Tease“). The romantic climax of the score comes in the piece entitled „Romance“ which moves from lovers` quarrel to reconciliation and final bliss, with a tenor – alto duet, followed by a piano solo, a soprano – alto duet and finally a lyrical solo by Barney Wilen on soprano. In „Spanish Castles“ George Gruntz weaves his own musical impressions of Spanish folk themes (he must have heard the Sardanas of the Costa Brava!) into a carefree holiday pattern. The soloists are Gruntz and Wilen. Marcel Peeter`s nostalgic echoing flute in „Nick And Marlene“ is picked up gently by Barney Wilen`s soprano for what turns out to be the most delicately melancholy duet of the score. Mounting excitement runs through the youthful banter which culminates in „The Proposal“. It opens and closes with a duet by Wilen and Peeters, features solos by Gruntz and Wilen and ends rapturously in ¾ time. With a brief statement of the „Final Theme“ the jazz score of „Mental Cruelty“ comes to an end.

Georges Gruntz (Switzerland) – piano
Has reached European prominence in only a few years since winning first prizes at several Swiss National Amateur Jazz Festivals. Appeared at most major jazz festivals on the Continent recently and represented Switzerland in the 1958 International Youth Band at Newport. „Mental Cruelty“ is his first film score although he has been commissioned to write jazz for radio plays. The piano style of George Gruntz, originally strongly influenced by Horace Silver, is rapidly developing along personal lines of his own.

Kenny „Klook“ Clarke (USA) – drums
One of the most versatile drummers in jazz today. Played leading part with Gillespie and Parker in the foundation of Bop and was also one of the founders of the Modern Jazz Quartet. His subtle approach opened new avenues in the modern style of drumming. Kenny Clarke now lives permanently in Paris where he forms the rhythmic backbone of the resident or visiting American jazz elite.

Barney Wilen (France) – tenor and soprano

Self-taught musician who today counts among Europe`s leading saxophone players. Son of an American father and a Corsican mother, he started playing club dates on the Riviera at the age of 15. was the star of the San Remo Jazz Festival in Italy at 19. Has performed with the cream of American jazzmen visiting Paris. One of the few European musicians who figures regularly in US jazz polls. Barney Wilen wrote the jazz score for the French film „Un témoin dans la ville“, played with Miles Davis in the score for „Ascenseur pour l`échafaud“ and with the Jazz Messengers and Thelonius Monk in „Les liaisons dangereuses“.

Raymond Court (Switzerland) – trumpet
Another most promising talent who has emerged from the ranks of Swiss jazz amateurs. Was awarded first prize at the Juan-les-Pins Festival among contestants from 10 European countries. Has successfully appeared all over the Continent, in Brussels with Zoot Zims. Raymond Court is a great admirer of Dizzy Gillespie and is sometimes referred to by American jazzmen as „the European cat who sounds like Diz“.

Marcel Peeters (Belgium) – alto and flute
Born in Antwerp, he has traveled to many European countries as featured soloist with leading formations. Today permanently resides in Switzerland where, after several years with the Radio Basel Light Orchestra, he now works as a highly successful free-lance composer, arranger and studio musician.

Karl Theodor Geier (Germany) – bass
Is presently working at the Conservatory of Freiburg in Germany for his diploma as a concert cellist. Toured Africa with a symphony orchestra but also won several prizes at German jazz festivals. Geier has lately become one of the most reliable rhythm accompanyists in Europe.

Notes by Lance Tschannen (1960)  

Many thanks to George Gruntz.
10” original vinyl album released in 1960 on Decca (Germany), all tracks fransferred from the master tapes by George Gruntz, remastered 2011 by Jury Lutz (24 bit/ 48 khz), original liner notes 1960 by Lance Tschannen, reproduction of original cover design by Patrick Haase (rab-bit.net). Produced for reissue by Ekkehart Fleischhammer.