= GUNN ... NUMBER ONE! =

AS I ENTERED THE FIRST SCORING SESSlON OF OUR NEW
"Gunn" film. I was delighted to see that the band contained most of the familiar faces that had done the original TV show.

Hank and I had discussed the music for the "Gunn" film thoroughly and he confessed to me that this was to be one of his most difficult assignments. The six years thaf had passed since the TV 'Peter Gunn' went off the air had seen sweeping changes, not only in jazz, but in all phases of the pop music spectrum.

As the score unfolded, everyone on that scoring stage agreed that Hank had done what was needed - he had brought Peter Gunn up to date without sacrificing the feel and excitement of the original. I think you will agree.

PETER GUNN: A powerful, up-to-date version of the "Gunn" theme. Plas Johnson is featured on the new Selmer Varitone Electric Saxophone.

A QUIET HAPPENING: Pianist Jimmy Rowles quietly sets up the three against four theme which segues to a straight walking four. Altoist Ted Nash and Bud Shank on baritone sax add their solo comments. The postscripts reserved for bassist Ray Brown.

DREAMSVILLE: This is the only other number along with Peter Gunn - that was retained from the original TV score. It is aptly named: Bunker's vibes establish a peaceful mood that serves as an invitation for the choir. The choristers' melody is doubled by a blend of French horns (led by Vincent De Rosa) trombones and no less than a dozen flutes.

SKY WATCH: A polite swinger, initiated by the twelve flutes (six alto and six bass), ending to four short but eloquent solos: Bunker on vibes; Rowles at the piano, Pete Candoli's trumpet making its
muted points over vibes; and Ted Nash on flute.

A BLUISH BAG: An infectious, contemporary, rhythmic back ground paves the way for soprano sax and trumpet in unison. A small chamber ensemble follows, leading to the solos. It is obvious that Mancini still holds a great liking for the small-combo sound that was such a hallmark of the original TV 'Peter Gunn' music.

THEME FOR SAM: Jimmy Rowles comes riding into town sporting a funky country and western flavor. The whole track swings rest fully - even the final resolution is a relaxed take-off of a typical Basie ending.

THE MONKEY FARM: A wild, uninhibited orgy of rhythmic gimmicks produced by two Varitone electric baritones, piano and fuzz guitar - typical accoutrements one might find in any swinging jungle. It's also typical of Mancini's musical sense of humor. Bob Bain's fuzz guitar weaves a hypnotic drone behind a section of four wailing soprano saxes, Ted Nash's solo and the Varitone tenor of Plas Johnson.

A LOVELY SOUND: Obviously a reference to the trombone of Dirk Nash as he wends his way over a variety of background colors.

I LIKE THE LOOK: Ray Brown and Shelly Manne+ set the bossa nova pattern, opening the way for a call-and-response exchange between chorus and flutes. An instrumental segment features horns and alto flutes in unison, along with Rowles' piano, then bark to the chorus.
Listen carefully to this tune: it's the latest creation by Mancini and Leslie Bricusse. The melody is in the Mancini tradition of the smooth flowing line; the lyrics bristle with Bricusse's trademark of witty, internal rhymes.

SILVER TEARS: Back to the chamber sound for a slow, moody showcase for Bunker's vibes. Piano and bass maintain a wide-ranging figure over sustained guitar chords, deviating only for Bob Bain's guitar solo before Bunker returns for his final solo thoughts, ending with an oscillating pyramid.

SWEET!: This is a jaunty waltz with a bouncing bass figure beneath a mischievous flute phrasing. The segue to 4/4 is smooth - as smooth as the vibes and muted trumpet solos by Bunker and Pete Condoli. Eight flutes doubled by four soprano saxes produce a novel sound a bit later. Trombonist Dick Nash solos before the flutes return with the final statement.

NIGHT OWL: Ted Nash in pursuit of beauty, with rich accompaniment from horns, flugelhorns and trombones.

BYE BYE: Not many writers get a chance to cast their instrumental material into a different mould. Mancini does with his Peter Gunn theme, and thanks to the lyrics of Joy Livingston and Ray Evans, its vocal fruition becomes the sardonic valedictory Bye Bye. The flautists add a dimension of shrill frenzy by doubling on piccolos. Shelly Manne proves once more that, regardless of the idiom, he is among the foremost of America's great drummers.

- BURT NELSON
Hollywood Citizen News