Chinatown nearly reached the screen with an entirely different musical identity. Producer Robert Evans rejected Phillip Lambro's original score at the last minute, leaving composer Jerry Goldsmith only ten days to create and record a replacement. Goldsmith responded with the haunting, feverish score now associated with the film's Los Angeles of heat, corruption, and doomed desire. The centerpiece was the sensual but uneasy trumpet writing performed by Uan Rasey, MGM's first trumpet and one of Hollywood's most experienced studio musicians. Rasey recalled that Goldsmith instructed him to play the solo "sexy—but like it's not good sex," an oddly precise direction that captured the score's atmosphere of seduction mixed with danger. Despite the emergency schedule, the new music earned an Academy Award nomination and later ranked ninth on the American Film Institute's list of the twenty-five greatest American film scores. A last-minute studio rejection thus produced one of the defining sounds of 1970s American cinema.
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