Hollywood On 52nd Street
Riz Ortolani and Nino Oliviero composed the theme song More that found its place in the pantheon of jazz classics. It was a part of the score for the 1962 film Mondo Cane. The film title translates to Dog’s World, or as the soundtrack album states, “a world gone to the dogs”.
Some melodies are used repeatedly, in different styles, each named for the part of the movie where the music is used. Of the 15 music tracks on the soundtrack album, one melody is presented 6 times, another melody 2 times. The melody which became known as “More” is presented 4 times, named “Life Savers Girls”, “The Last Fight/L’Ultimo Volo”, “Models In Blue/Modelle in Blu”, “Repabhan Street/Repabhan Strasse”, in styles ranging from lush to march and 3/4 waltz.
Originally composed as an instrumental and titled “Ti guarderò nel cuore”, lyrics were later provided by Marcello Ciorciolini, which were adapted into English by Norman Newell. At that point, “Theme from Mondo Cane” became “More” (not to be confused with an earlier pop song of the same name).
The Story: The movie Mondo Cane is filmed as a documentary and uses a variety of music to accompany various segments. The film uses a series of stories that take place in different cities around the world, i.e. dog pound, Rudolph Valentino statue, bikini-clad girls wooing sailors, pigs being slaughtered, and a manhunt among various others.
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Hollywood On 52nd Street
The Look Of Loveis another jazz standard from the iconic pop library composed by Burt Bacharach and Hal David. The tune was sung by English pop singer Dusty Springfield in the 1967 James Bond film spoof, Casino Royale. It also received a Best Song nomination at the 1968 Academy Awards and in 2008 the song was inducted into the Grammy Hall of Fame.
David Niven starred in Casino Royale as the original 007, Sir James Bond. It is loosely based on Ian Fleming’s first novel. Forced out of retirement to investigate the deaths and disappearances of international spies, he soon battles the mysterious Dr. Noah and SMERSH.
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Hollywood On 52nd Street
Alfie, the title song, written by Burt Bacharach and Hal David, for the 1966 British romantic comedy-drama directed by Lewis Gilbert. The film starred Michael Caine, with supporting roles by Shelley Winters, Millicent Martin and Vivien Merchant.
The original film soundtrack featured jazz saxophonist Sonny Rollins with local musicians from London including pianist Stan Tracey, who improvised “Little Malcolm Loves His Dad”, Rick Laird on bass, drummer Phil Seamen and tenor saxophonist Ronnie Scott. The released soundtrack album, recorded back in the States with orchestration by Oliver Nelson, featured Rollins, but with other musicians.
The Story: Alfie tells the story of a young womanizer who leads a self-centered life, purely for his own enjoyment, until events force him to question his uncaring behavior and his loneliness. He cheats on numerous women, and despite his charm towards women, he treats them with disrespect and refers to them as “it”, using them for sex and for domestic purposes. Alfie frequently breaks the fourth wall by speaking directly to the camera narrating and justifying his actions. His words often contrast with or totally contradict his actions.
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Review: Gary Motley | de*par*ture
As I cruised down the highway immersed in my quiet time listening to this advanced offering by composer, pianist and educator Gary Motley, it was no surprise that I was witness to a de*par*ture from the mundane. From the line, this project fittingly takes off with a fast-paced Fits And Starts, and keeps pace into Someday Sunday. Suffice it to say it continues with the title track and moves easily through the balance of the eight tunes that comprise this work.
I was halfway through a most engaging escape when the voice of Alex Lattimore snapped me back to reality and my internal conversation rebooted. Not just listening to words, I found myself interacting with the lyrics of life. Arranging sound and rhythm like light and shadows of film noir, this consummate accompanist enhances the poignancy and sensitivity of Caught and Stay With Me that touches the heart of any relationship mired in the pursuit and promise of love.
With a project like this, one can only surmise that only schedules were the biggest obstacle in getting into the studio. Enlisting bassist Craig Shaw and drummer Terreon Gully, two fellow original members of The Swing Association, it is never more evident that Gary knew their magic had not been lost over time. One clearly hears the comfort of camaraderie in their performance, each playing off and with the other. Mix in the additional ingredients of lyricist/vocalist Veronica Motley, flautist Randy Hunter, and guitarist Dan Baraszu with the strings of the Vega Quartet and you have a perfect blend of talent.
What I discovered with this recording is there is no track order that would otherwise diminish the experience. In the days of wax they used to say, “drop the needle and let it play” which meant there was no need to skip over tracks. In Mr. Motley’s case, it is a departure, in that any order is just as delightful. Listen as you desire and I guarantee, you will play and recommend this work of art to friends for years to come.
carl anthony | notorious jazz | august 28, 2014
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Hollywood On 52nd Street
You’d Be So Nice To Come Home To is a popular song that became a jazz standard. Written by Cole Porter it premiered in the 1943 film Something To Shout About, nominated for two Oscars and introduced by Janet Blair and Don Ameche.
The Story: The movie takes place behind the scenes of a fictional vaudeville play and centers on a recently divorced woman. She decides to use her alimony settlement to produce her own show. Unfortunately her chief backer insists on starring in it but she is saved when a talented man puts everything at risk to replace the talentless chief backer.
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