Henry Mancini - Touch Of Evil (Original Soundtrack) (review)
Henry Mancini - Touch Of Evil (Original Soundtrack) (El; ACMEM134CD)
reviewed by Michael Macomber
Henry Mancini’s pulsing Latin flavored score for the 1958 film noir classic Touch Of Evil is further proof of Mancini’s total mastery of nearly every musical form. From the white knuckle intensity of the unrelentingly dark main title theme to the sweet cocktail sway of “Susan,” from the bongo-driven swing of “Borderline Montuna” to the doo wop slow dance sound of “Rock Me To Sleep,” Mancini doesn’t just ape all these styles, he embraces them with a passion. Most remarkably, he captures the essence of 1950s rock and roll, demonstrating he was in touch with everything going on in the music scene at the time.
The aptly named “Bar Room Rock” could have easily been part of a Bill Haley and The Comets set. “Orson Around” has a similar tone, with a truly rockin’ guitar from the one and only Barney Kessel. “Lease Breaker” is another Kessel showcase, ably assisted by a killer solo from tenor saxman Plas Johnson. “Ku Ku” is a little bit jazzy and a little bit rock and roll, leaving room for trumpeter Pete Candoli to go to town.
The ensemble takes it down a bit for the oh-so-blue “Reflection.” This quieter, more laid back track is Mancini at his best, painting twilight across the sky. Magnificently mellow sax is beautifully punctuated by a sweetly singing guitar. There’s a bit of Dixieland in the way the horns sigh sadly to each other. “Tana’s Theme” is also coming from a gentler place, mixing piano and vibes for an old time music hall feel.
The two most valuable players in Mancini’s Touch Of Evil ensemble have got to be Jack Costanzo and Mike Pacheco, on bongos and conga, respectively. Together they supply the relentless beat that defines the piece. Sometimes forbidding, sometimes inviting, always compelling, Costanzo and Pacheco propel the narrative forward with skill, precision, and soul.
Touch Of Evil director, writer, and star Orson Welles had a lot to contend with while making what would turn out to be his last Hollywood film. The hatchet job studio executives performed on his masterpiece was appalling and unforgivable. The one thing Welles didn’t have to worry about, however, was the music. Mancini had that covered. Following detailed notes provided by Welles, Mancini produced a soundtrack that brilliantly complimented the iconic filmmaker’s vision. In the process, Mancini also created something that could stand on its own, a unique and arresting work replete with beauty, power, and panache.
