What might be Henry Mancini's finest score for the seventies finally makes its long overdue premiere on CD!
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Doug's Tech Talk
What might be Henry Mancini's finest score for the seventies finally makes its long overdue premiere on CD! Jacqueline Susann's Once Is Not Enough is large-scale story of fame and failure, success and sex. Guy Green directs large cast with Kirk Douglas in lead as aging film producer, Deborah Raffin as his daughter, David Janssen as troubled author, Alexis Smith as wealthy wife of Douglas, George Hamilton as Raffin's suitor, Melina Mercouri as aged recluse, Brenda Vaccaro as zesty magazine editor. Henry Mancini writes incredibly melodic score in his finest classic sixties style. Melodies both warmly sumptuous, tenderly sad play key roles. Haunting theme for January a standout, with tragic minor key overtones playing in contrast to sunnier key of main theme. Both melodies play amongst composer's all-time finest. But there is so much more. Score is overflowing with material: trademark Mancini source pieces in variety of styles, rich background score sequences based on main themes, more. Mancini often made musical gesture towards someone featured in the cast. Arabesque (Something For Sophia), The Pink Panther (Something For Sellers), Breakfast At Tiffany's (Something For Cat). Here he provides "Something For Alexis". Also in signature Mancini style are numerous instrumental solos throughout, with contributions from piano, electric piano, guitar (both electric, acoustic), flute, harp, horn, vibes, metal xylophone... literally a treasure trove of featured ideas! Somewhat troubled film production resulted in multiple approaches to several musical sequences including both instrumental, wordless choral versions of main theme, alternates of end credit music, unused vocal version of theme sung by Jerry Wright, other changes. Intrada CD presents them all. While the Paramount film was only presented in mono, the score happily was recorded in 2" 16-track formats, allowing new digital stereo mix of everything. Henry Mancini conducts. Intrada Special Collection Release available while quantities and interest remain!
25. Opening Scene – Alternate 2) (Vocal by Jerry Wright) (Lyrics: Tony Asher)* (2:48)
26. Opening Scene – Alternate 1) (Orchestra/Chorus)* (2:48)
27. Bike Ride (Orchestra & Chorus)* (1:33)
28. End Title And Credits – Alternate (Orchestra/Wordless Chorus)** (4:20)
29. End Title And Credits – Alternate 2 (Orchestra/Chorus))
(Lyrics: Sammy Cahn)* (4:21)
30. End Title And Credits – Film Edit (Orchestra/Chorus) (Lyrics: Larry Kusik)* (6:07)
31. Lonely Figure (Piano: Henry Mancini)* (1:19)
32. Theme From Once Is Not Enough No. 4 (Piano: Henry Mancini)* (1:23)
* Not Used In Film
Total Extras Time: 25:10
Tech Talk From The Producer…
Henry Mancini fashioned one of his most beautiful
main themes for Once Is Not Enough, as well as an equally haunting melody for
the tender/tragic character of January. But even with Mancini’s veteran status and his long-term
familiarity with the process of getting music from players to tape, recording much of
this score proved a somewhat daunting task.
For the opening of the movie, the filmmakers had Mancini record takes both with
wordless chorus and with orchestra alone. Then they had him record yet another take
featuring singer Jerry Wright. Ultimately they stayed with the take featuring just the orchestra.
When they got to the “Bike Ride” sequence, they again tried versions for both
the orchestra alone and with wordless chorus and again the orchestral take was selected
for the finished film. All versions of both sequences are included on this CD, with
the film choices playing in the main program and the alternates appearing as extras.
The final section of the film proved even more difficult, with Mancini recording
an orchestral cue as well as a solo piano version of his secondary theme for January
(also known in the Paramount paperwork as “Lonely Figure”) only to have both
dropped from the film. He also recorded no less than six versions of the main theme on
solo piano for the same sequence. Ultimately, the sixth version was used, accompanying
January as she wanders aimlessly down the streets alone. Most of the six versions
were essentially identical except for tempo and feel, but the fourth version featured
a different introduction and, as such, is included in the extras, along with Mancini’s
unused piano version of “Lonely Figure.”
Immediately following this penultimate scene, the final moments of the film encapsulate
the movie in a montage, leading into the “End Title And Credits.” However,
scoring the sequence proved a lot less cut and dried. Again, Mancini recorded versions
for orchestra with piano as well as for orchestra plus chorus both wordless and with lyrics.
But when the dust settled, the film editing needs had changed, the closing montage
scene was longer than the music already recorded, and the film makers not only had
to choose which version to use but how to make it fit. It ended up being something
akin to fitting a square peg into a round hole, editing between versions to lengthen the
montage portion, then subsequently (and awkwardly) deleting bars to make the end
credits time out properly.
We have included all of the versions,
placing the original concept Mancini
planned (with chorus and lyrics) in the
main program and the alternate versions
as extras. We have also included a rough
approximation of the film version (including
the edits between takes to allow for
the extended montage music), although
this version actually plays longer here
than in the film since we did not want to
duplicate the awkward edits which cut
bars to shorten the piece.
A word is also in order regarding the
lyrics. Even they proved to be a challenge,
with different sets of lyrics penned by
three authors and recorded by Mancini,
each of them heard in various used and
unused choral and vocal tracks included
on this CD.
To present all of this music, including
the variety of alternates, we were
given access to the 2? 16-track session
masters vaulted by Paramount in pristine
condition. While the film mix was
monaural, having these multi-channel
elements allowed us to create brand-new
two-track stereo mixdowns of the entire score—including the various unused orchestral, choral and vocal pieces.
The mixing was somewhat complicated, with Mancini assigning many of the
sixteen different channels to a variety of solo colors that included flute, electric piano,
upright piano, electric guitar, two acoustic guitars, vibes, harp and bells. These
are spotlighted at various times throughout the score in front of a bed of strings, brass
and percussion, thus moving around the sound stage without being “anchored”
As a coda on the CD, we include the above-mentioned fourth solo piano
rendition of the main theme by the composer as well as his unused piano performance
of “Lonely Figure.” Since the film was presented in mono only, these solo
piano pieces were not recorded in the 16-channel format but played directly onto just one channel and preserved on both ½? tape and ¼? safeties.
Enjoy now what is probably Henry Mancini's most “sixties” sounding score of
the seventies. It is rich in melody both warm and sad, chock full of striking combo
and big band source cues and will surely linger in your mind long after the disc stops
Composed and Conducted by Henry Mancini and Pete Rugolo.
Recorded on October 15-17, 1974, and March 10, 1975, at Paramount Scoring Stage M, Hollywood, California.
Violins: Israel Baker
Violas: David Schwartz
Celli: Raphael Kramer
Mary Louise Zeyen
Basses: Charles Domanico
Flutes: Louise DiTullio
Clifford E. "Bud" Shank
French Horns: Vincent DeRosa
Trumpets: Graham Young
A. D. "Bud" Brisbois
Trombones: Richard Nash
Tuba: J. Tommy Johnson
br>Drums/Percussion: Thomas Vig
Harp: Catherine Gotthoffer
Piano, Keyboards: Henry Mancini
Guitar: Robert Bain
Arp: Chris Mancini
Arrangers: Henry Mancini