Hank Mancini: Jazz Musician

Following service with the Army during WW II, Hank Mancini embarked on a decade-long apprenticeship as a free lance arranger and musician that included work on radio shows, providing the music for little man Billy Barty’s vaudeville act, developing music for choreographer Nick Castle and being a house arranger for Universal-International Pictures for most of the 1950’s.


As Mancini explained: I once referred to the music department at Universal as a salt mine, but it was a good salt mine, and younger composers in film today do not have access to that kind of on-the-job training. Being on staff there I was called upon to do everything. I mean everything. Whenever they needed a piece of source music, music that comes from a source in the picture, such as a band, a jukebox, or a radio, they would call me in. I would do an arrangement on something that was in the Universal library, or I would write a new piece for a jazz band or a Latin band or whatever. I guess in every business you have to learn the routine--in film scoring, the clichés--before you can begin to find your own way.

Aided by his own big band background from his days growing up in West Aliquippa, PA and serving as an assistant to Max Adkins in Pittsburgh, PA, during this stint with Universal, Mancini was tapped to be the lead arranger for the two best-known swing biopics, "The Glenn Miller Story" in 1954 and "The Benny Goodman Story" in 1956.

Little did anyone realize at the time that these apprenticeship and time in the salt mine would ultimately make Mancini one of the most successful film composers of his time. He had a knack for writing catchy tunes which was one of the major keys to his success. And what a success it was as from 1958 and through most of the 1960’s, Mancini so dominated the television and film music scene that everything else seemed to be either an attempt to clone his sound or a reaction against it.

Hank’s breakthrough came though Blake Edwards, a former editor at Universal who remembered Mancini's work on Orson Welles' 1958 film noir, "Touch of Evil," in which Mancini supplemented the canned source music used for the soundtrack with some Jazz inspired music and included Conrad Gozzo on lead trumpet and Shelly Manne on drums to insure that the music was phrased properly.

Edwards was extremely impressed with Mancini’s score for this film and asked him to write music for a Peter Gunn, a new television series he was now directing. Since he was working on a small budget, Edwards asked Mancini to write for a jazz ensemble of 11 players

At a time when many television programs were using uninspired canned or “generic” orchestral backgrounds, Mancini opted to use modern Jazz with innovative Jazz themes accompanying Gunn’s every move. The harmonies fit the mood of the show, which was a key to its success, and they served to lend the character even more of an air of suave sophistication.


Mancini's music, “especially the pounding, menacing sounding theme,” proved almost as popular as the series, and RCA rushed out an album featuring the title song and other pieces. The label first offered Shorty Rogers the recording job, but he refused RCA’s request insisting they use the composer himself. Although television soundtracks had been released on albums before, Music from "Peter Gunn" was a phenomenon. It reached #1 on Billboard's chart, stayed there 10 weeks, and stayed on the list for the next two years. It was so successful, RCA put together a sequel and Mancini received an Emmy nomination for the theme and won two Grammy awards for the first album.

Mancini’s Peter Gunn theme with its hip, bluesy, brass texture and insistent piano-and-bass line became as associated with crime fiction as Monty Norman’s theme for the James Bond films was to become associated with spy films.


These two albums – The Music from Peter Gunn and More Music from Peter Gunn contain a wealth of small group and big band Jazz that is often overlooked either because of their commercial success at the time or because they were overshadowed by the many success of Mancini’s later career.


I thought it might be fun to remind readers of Jazz Profiles about this music or make it available through this review to listeners that may be new to it.

In talking with trumpeter Pete Candoli many years later, he shared the view that “In all the years of studio dates that I worked on in Hollywood, I’ve never enjoyed doing anything more. The musicianship on these dates was first-rate and Hank’s scores were always beautifully written and fun to play on.”


Vibist Victor Feldman also recalled these dates with fondness and affection: “These were some of my earliest studio recording dates and it was a thrill to be around such an incredibly talented bunch of musicians. Hank couldn’t have been nicer and the themes and ‘charts’ [arrangements] were so wonderfully crafted and just a blast to play.”


The first of these albums [the two have now been combined into one CD] highlights Mancini’s skill in employing an endless variety of orchestral voicing in making 11 musicians sound like a full big band. With the success of the initial album, RCA granted Hank a budget for a full orchestra and the sound he achieves on these tracks is even more rewarding.

Brassy trombones, either as soloists or in a trombone choir, chords played in the background by a “block chord” combination of vibes-piano-guitar as made famous by the George Shearing Quintet, descending figures being howled out through a bevy of French Horns, bass trombones blatting pedal tones [with or without mutes], “Shout Choruses” on tunes like Fall Out, Timothy,” and Blue Steel that would rival anything ever written by any big band arranger past or present, flute choirs phrased in unison with piccolos “on top” and the rarely heard bass flute [where else?] on the bottom, marimbas, a solo feature that highlights the brushwork of drummer iconic studio drummer Shelly Manne, beautiful ballads in the form of Dreamland, Joanna, Blues for Mother and A Quiet Gass – it’s all here; beautifully and consummately played by a group of world class musicians that populated the Hollywood Studios during the day and its many Jazz clubs at night.

In the music from Peter Gunn, Hank Mancini has given us a feast for the ages; do yourself a favor and partake.

With the 70 anniversary of Benny Goodman's famed Carnegie Hall Concert just a few days away, the editorial staff of JazzProfiles thought the following commemorative article might be of interest to its readers.

When Carnegie Hall Swung
Benny Goodman headlined and Jess Stacy stole the show
By TOM NOLAN

January 12, 2008; The Wall Street Journal

"Sunday evening, January 16, 1938: Benny Goodman and his Swing Orchestra" read the placard 70 years ago in front of New York City's most prestigious classical-music venue. "The First Swing Concert in the History of Carnegie Hall."
Headlining this sanctum sanctorum must have seemed the only thing that Goodman, the 28-year-old, Chicago-born clarinet player, big-band leader and "king of swing," might then do to top a phenomenal 2½-year ride to the peak of the popular-music world. New York seemed to agree. Carnegie Hall sold out at once: all 3,900 seats.
At 8:45 p.m. that Sunday night, a nervous Goodman, in white tie and black tailcoat, launched the band into the evening's first number: "Don't Be That Way." The tempo was restrained, the orchestra tentative, the soloists polite. But 2½ minutes into the tune, drummer Gene Krupa jolted the ensemble to life with an explosive two-bar break. The event would need more such jolts. This "definitive program of swing music" came saddled with program elements that kept the concert out of step for its first half-hour.
A "20 years of jazz" segment and a quarter-hour "jam session" with guest players from the Count Basie and Duke Ellington orchestras proved wearying. Not until Goodman's trio and quartet -- specialty combos featuring first the impeccably brilliant pianist Teddy Wilson and then the rhythmically enthusiastic vibraphonist Lionel Hampton -- took the stage did the concert gain traction.
Goodman was at his best in small-group settings, where his melodic ease, great technique and strong sense of swing were on full display. The trio's "Body and Soul" and the quartet's "The Man I Love" and "Avalon" charmed the audience -- and the quartet's five-minute upper-tempo "I Got Rhythm" positively sizzled.
After intermission, the orchestra too was in fine form, demonstrating, for the Carnegie Hall crowd, just what this swing-era fuss was all about.
"Bei Mir Bist Du Schon" had the concert audience clapping in time (if unhiply on the wrong beat); and at the close of the band's euphoric performance of "Swingtime in the Rockies," the Carnegie crowd let out a roar worthy of Harlem's Savoy Ballroom. Then Goodman called again on his trio and quartet, for three more numbers.
It was good pacing to go from combo to big-band and back, but it also seemed emblematic of a schism that ran through the jazz world of the late 1930s: the split between young swing-music idolizers, hooked on the big bands' riffs, and an earlier generation of traditionalists who felt "true jazz" was played only by small groups of collectively improvising players.
This concert's earlier "history of jazz" segment paid homage to the "classic" jazz of the '20s; its most effective moment, for many, was when Bobby Hackett, a 22-year-old cornet player from Rhode Island, re-created the late Iowa cornetist Bix Beiderbecke's melancholy 1927 version of "I'm Comin' Virginia."
Beiderbecke had died an alcoholic's death in New York in 1931. A generation of jazzmen were haunted by his lyrical sound. Several of the men on stage, including Goodman, had played with Bix back in the day. Jess Stacy, the Goodman orchestra's outstanding pianist, had his style shaped through crucial exposure to Beiderbecke in 1923, in Davenport, Iowa, when Bix came aboard the riverboat an 18-year-old Stacy worked on.
"He played the pian-a," Stacy told pianist Marian McPartland decades later on her NPR program "Piano Jazz," "and he played [the type of] harmony like [he had], you know, [in his own] 'In a Mist'?" Stacy was referring to Beiderbecke's Debussy-like composition for keyboard. Beiderbecke had steeped himself in the sounds of such modern-classicists as Ravel, Elgar and MacDowell. "He played 'Clarinet Marmalade,' with that type harmony. Back in my head, I'd known that that was possible. But I didn't know how to do it, you know? But when I heard him do it -- it just bowled me over."
Bix, with his relaxed manner and modernist harmonies, seemed, for some, the ghost at the banquet of this swing-music concert, with his implied reproach: Mine was the path you might have taken. But toward the end of this longish evening, Benny Goodman found a way to merge these opposing visions of jazz via "Sing Sing Sing" -- the most raucous and elaborate of his big band's signature items, a "killer-diller" that had evolved into an epic.
The number began with a vengeance, as Krupa beat a tattoo beneath the snarling brass and strutting reeds. Riff patterns unfolded smoothly, and then Goodman's clarinet emerged, full of subtle spirit and insinuation. "Sing Sing Sing" rolled on and on -- through a false ending and a surprise return, a raucous Harry James trumpet solo, and three rhythmic ad-lib choruses by Benny that conjured the intimacy of an after-hours session even as they worked their way up to a tentative high C.
And then, after 9½ minutes, Goodman, in true jam-session fashion, turned "Sing Sing Sing" over to Stacy, who'd never before been featured on this number: "Take it, Jess."
The pianist began to unfurl a long, driving, ruminative meditation on "an old A-minor chord" -- a thoughtful exploration that would still sound fresh 70 years later. "I used to listen to records every night," Stacy told McPartland. "I listened to a lot of Ravel; I listened to Debussy and MacDowell. If you'll notice, in that chorus a little MacDowell crept in there." His extraordinary three-chorus, two-minute solo, which stretched from steamboat-stride to barely audible Impressionist ripples, induced what one witness called "a magical stillness." At last the band, booted by Krupa, returned for a thrilling half-chorus finale.
Benny Goodman's one-night stand at Carnegie Hall faded into the mists of memory -- until 1950, when acetate recordings of the event were issued on an LP that became one of the best-selling jazz albums of all time. An eventual CD version, "Benny Goodman: Live at Carnegie Hall" (Columbia), introduced still younger listeners to the concert that began as a press agent's brainstorm and turned into legend. Most all who heard the recording (including Goodman) thought Stacy stole the show with his two-minute soliloquy -- a solo seeded with the subtle phrasings and harmonic shadings that the pianist first encountered so long before, when a 20-year-old cornet player in Davenport came aboard the riverboat to play the piano.
Mr. Nolan is editor of "The Archer Files: The Complete Short Stories of Lew Archer, Private Detective," by Ross Macdonald (Crippen &Landru).

The Paul Horn Quintet

In 1962 during what was then called "Easter Week" [April], I was the drummer in a quintet that won the Intercollegiate Jazz Festival which was held annually at The Lighthouse Cafe located in Hermosa Beach, CA. [For more about a DVD by Ken Koenig that chronicles the history of this Jazz club, please visit http://www.roseking.org/].

Much of the music that our quintet played was inspired by and/or derived from the Paul Horn Quintet. Although it was was formed in 1959, our quintet didn't catch-up to Paul's group until 1961 when it started to make a regular mid-week gig at Shelly's Manne Hole in Hollywood. Once we did hear Paul's group, it's music was to make a huge and lasting impression on us.

The original group consisted of Paul Horn [alto sax/flute], Emil Richards [vibes], Paul Moer [piano], Jimmy Bond [bass] and Billy Higgins [drums], although by the time it made the gig at Shelly's, Billy Higgins was in New York making all of those wonderful Blue Note recordings and Milt Turner had replaced him as the drummer.

The quintet that I performed with at the Lighthouse 1962 Intercollegiate Jazz Festival had the same instrumentation as Paul Horn's 5Tet except that guitar replaced vibes.

By 1962, nearly every Jazz fan had become familiar with the modal Jazz played by the Miles Davis Sextet in the Kind of Blue album,

and with "unusual" time signatures immortalized by the Dave Brubeck Quartet's

Time Out! album.

What made the Paul Horn Quintet particularly appealing to our us was that it was playing modal Jazz in combination with unusual time signatures, just the thing to peak the musical interest of 5 young lads ranging in ages from 18-22.

[For more on modal Jazz go here - http://en.wikipedia.org/wiki/Modal_jazz and for unusual or complex time signatures go here - http://en.wikipedia.org/wiki/Time_signature].

So there we were for almost a year, spending our Wednesday nights [or was it Thursdays?] straddling chairs with their backs turned toward the stage, nursing Coca Colas for over four hours while we soaked in this wonderfully different music. On many nights, the five of us made up half the crowd at the opening set and the entire crowd by the closing set!

Of course, none of these tunes were available as published music so we had to memorize them and later notate them, correcting any flaws through subsequent listening at the club.

To their credit, both Paul's and Emil, who composed all of the group's original music, were extremely helpful in helping us correct mistakes and in explaining alternatives to or extensions in the music.

And they couldn't have been nicer about often times stopping at our table when a set had concluded to answer any questions before going out for a smoke or to visit the den of metabolic transmigration. Sometimes there were so many questions that they didn't get treated to a break between sets. I guess our enthusiasm and energy was contagious and they were pleased to be with others who shared their musical interests.

We listen to this music so often that thinking and playing modal Jazz in complex time signatures became almost second-nature to us and by the time of our 1962 performances at the Lighthouse Intercollegiate Jazz Festival no one had to count the unusual time signatures - we just felt them!

Count Your Change became for us a blues in 4/4 time for the first 8 bars of the theme followed by six measures in 5/4 time concluding with two measures again in 4/4; I mean, your basic 16 bar blues, right!?

Or how about Half and Half with its two introductions, the first centered around the piano and bass improvising on two chords and the second introduction consisting of a 12-bar section in 6/8 time with the tune breaking down into three phrases: [1] the first 12-bar phrase in 4/4 and is made up of 8 bars of ensemble or horn solo and 4 bars of drum solo, [2] an 8-bar phrase in 6/8 and [3] a final 8-bars in 4/4.

I particularly liked this one because as the drummer I got to finish the last four bars of every one's solo in the first 12-bar phrase. :)

By the time we started playing Paul Moer's Fun Time it was imperative that we "felt" the time instead of having to count it as the measures in the choruses run 3/4,3/4,/5/4 [repeated 4 times] followed by a chorus of 5/4,5/4,3/4,3/4.5/4!

I could continue with many more of these musical roller coaster rides contained in the quintet's musical repertoire, but I hope you get the idea from these brief descriptions about how intriguing and adventurous this music was and how proud we felt to be able to accomplish it.

The Paul Horn Quintet will always have a special place in my heart for making this musical journey possible in my life.

I think perhaps the uniqueness of the music that our group featured at the 1962 Lighthouse Intercollegiate Jazz Festival may have played a major role in our wining the competition both as a group and on all of our individual instruments, respectively; another reason for us to be indebted to the Paul Horn Quintet.

Much of this wonderful and intriguing music is preserved on the Collectibles two-fer CD that includes the Columbia albums "Profile of a Jazz Musician" and "The Sound of Paul Horn" [Collectibles COL-CD-7531, Sony AZ 61328] and "Something Blue" [hifijazz J-615 reissued on CD as OJCCD 1778-2].

If you wish to know more about the technical elements involved in each tune, Leonard Feather does an admirable job of describing them in the insert notes to the Columbia/Collectible albums as does Gene Lees in the insert notes to the hifijazz album. You can also located more about the Paul Horn Quintet beginning on page 204 of Robert Gordon's fine book, Jazz West Coast [London: Quartet Books, 1986].

Incidentally, the Paul Horn Quintet featuring Emil Richards on vibes staged a reunion at The Los Angeles Jazz Institute's "Jazz West Coast 3" held on October 2, 2005 [for more about the LA Jazz Institute go here - http://www.lajazzinstitute.org/].

Mike Lang [piano], John Belzaguy [bass] and Joe Porcaro [drums] made up the rhythm section and two of the tunes they played were none other than Count Your Change and Half and Half.