John Roos’ Blog

The other day, I was watching the opening sequence of The Return of the Pink Panther, as the famous pink panther diamond is being stolen. As so often happens, my focus shifted to the music. And I was reminded of the uniqueness of this score (and this sound). How it could not have been composed by anyone but Henry Mancini. And why he was such an outstanding composer.

The background to the opening sequence is typical Mancini. Rich orchestration, particularly tight brass chords, dominated by trombone clusters. A sultry flute solo. The subtle use of vibraphone. This was authentic jazz. Not second-hand or imitation. The real thing.

It was music like this for the Pink Panther films that helped catapult Mancini to fame. But he had written many other distinctive movie and TV themes. Hatari, Peter Gunn, Breakfast at Tiffanies, on and on. As a teenager, I was so impressed by his soundtrack to Charade that it became one of my first album purchases. Here were the classic Mancini touches. Beautiful melodies, backed by a bed of lush harmonies. A great trombone solo by Dick Nash.

Listening to any of these scores proves that Mancini was a serious musician. An accomplished flautist. A composer with serious jazz roots, and a real ear. All too rarely, he allowed himself to indulge in making music without film association. Actually recording some real jazz.

Of these albums, my favorite is Combo, which features a small group of Hollywood musicians, many of whom are featured on his other soundtracks. Tenor saxophonist Plas Johnson (the man who created the Pink Panther sound). Pete Candoli (or his brother Conte). Dick Nash, of course.

What set Combo apart, for me, was the use of harpichord, replacing the usual piano. I love the sound, and the touch harpsichord adds. Just listen to Mancini’s version of Bobby Timmons’ Moanin’, and the impact that harpsichord sound makes. Why, I wonder, have so few musicians not used a harpsichord?

What adds to the interest is that this harpichord was played by “Johnny Williams.” Yes, the same John William who gained fame for his own work as a composer in Hollywood. But Williams, as he displays here, has strong keyboard skills, and is an excellent improvisor.

We also can imagine how Williams was going to school, listening to Mancini’s sounds. Learning how to craft sound beds, and use instrumentation to build moods. How to develop themes. Mancini certainly was not his only influence but we certainly can sense what Williams must have learned from playing on recordings like this.

As is typical of Mancini’s jazz-oriented albums, tracks are uniformly short. Solos are limited to one or two choruses. No one really cuts loose, or plays for an extended set. I’m not aware that Mancini ever took a band like this on the road. That certainly would have been an enjoyable experience.

If forced to name a second favorite album it would be Uniquely Mancini, his version of big band. The fact is that many of his soundtracks featured this same combination. Full brass, including French horns. This has the classic Mancini sound. The rich bass, anchored so often by those classic trombone clusters. Vibes. Solos by Plas Johnson and others. I love Chelsea Bridge and Lonesome, both featuring a great Dick Nash trombone solo.

For years, Uniquely Mancini was unavailable. My LP was long gone, but I could hear this music in my mind. And the cut I remembered most was Bonzai Pipeline, its rhythm punctuated by low trombone chords. Classic Mancini touches like vibraphone.

Those who only know Mancini from his movie scores are urged to listen more closely when watching a movie for which he provided the music. And they are encouraged to check out his music, as music.

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