I did a search and couldn't find any threads on this score, but apologies if I missed it.
Nevertheless, I'm watching this on TCM right now, and it's certainly a very curious film - but being a huge David Niven fan, as well as an ardent admirer of the ever-effervescent Francoise Dorleac, I'm getting a big kick out of it.
I'm also really enjoying the smooth, buoyant score by Mario Nascimbene - there's some great bongo & organ "espionage" material, as well as playful pizzicato material for David Niven's character, some lush string music elsewhere, and a great saxophone-lead on a charming love theme. I'm not sure if any masters or anything like that still exist, but this seems like the kind of score that'd be right up Kritzerland's alley - and I'd certainly snap up a copy in an instant. If there's not terribly much material, perhaps it could be placed on a double bill.
Equally surprising to me is the spotting of the movie, there are some substantial chase and action scenes that rely totally on the sound effect design for its rhythmic propulsion.
If anyone knows anything else about this music, or has thoughts about it, I'd certainly love to hear more about this score!
The film was an MGM UK production and release, so it's only the composer's nationality that would lead one to suspect that the music masters are in Italy and not Britain.
I'm not sure if any masters or anything like that still exist, but this seems like the kind of score that'd be right up Kritzerland's alley - and I'd certainly snap up a copy in an instant. If there's not terribly much material, perhaps it could be placed on a double bill. If anyone knows anything else about this music, or has thoughts about it, I'd certainly love to hear more about this score!
About 35 minutes of music in really good stereo sound do exist in the Nascimbene private archives. This could be the only master source which has survived. The score itself was recorded in London in 1965 and according to Nascimbene's autobiography was conducted there by Alfredo Antonini. Organ soli were played by the famous Jimmy Smith. The music publisher for the score in Italy was Edizioni Curci, but I highly doubt that they have any masters. So any label interested in releasing the score should probably contact the Nascimbene estate in Italy or rather Mr. Andrea Mascitti in Orsogna who nowadays handles the complete estate: http://www.nascimbeneaward.com/CONTATTI.html
Frankly, anything with Jimmy Smith at the Hammond B3 AND manic bongos is aces with me!
Mark, a quick question please. Why does it seem as if Jimmy Smith was being used frequently, compared to other jazzers, during the era in question? I mean Coltrane, Miles, Turrentine, etc. were all still playing, but Jimmy Smith shows up in more film and TV than all those cats combined.
Why Jimmy Smith? Is it bc the Hammond was somewhat newer, and he was playing it unlike anyone else?
Lexedo, I have no idea really. It could be because he was pretty much THE face of the jazz organ (especially on the B3) so he would naturally be the "go to guy" if someone wanted a jazz organ sound for their recording. Also, he may have just said "yes" more than some of the other guys, perhaps because beyond doing mostly straight ahead jazz, he may have been more open to other musical avenues...or he just liked the money!
Are you familiar with Barbara Dennerlein, the German B3 jazz player? Best thing to come along for the jazz B3 world since Jimmy Smith.
Why does it seem as if Jimmy Smith was being used frequently, compared to other jazzers, during the era in question?
Because Jimmy Smith was one of the main artists on the Verve label, and Verve was at the forefront of creating a hip, international, jazz/pop crossover aesthetic. And in general, the sound of the B3 was big then. Plus, you had film/TV composers like Lalo Schifrin, Q, Kenyon Hopkins, Gil Melle, Oliver Nelson, Legrand, and probably others I'm forgetting making albums for Verve during this period. It was inevitable.
Lexedo, I have no idea really. It could be because he was pretty much THE face of the jazz organ (especially on the B3) so he would naturally be the "go to guy" if someone wanted a jazz organ sound for their recording. Also, he may have just said "yes" more than some of the other guys, perhaps because beyond doing mostly straight ahead jazz, he may have been more open to other musical avenues...or he just liked the money!
Are you familiar with Barbara Dennerlein, the German B3 jazz player? Best thing to come along for the jazz B3 world since Jimmy Smith.
Let me tell you that she is incredible Mark. I guess bc of their advanced organ studies in European music school, if they can't end up at a cathedral, they go for a Hammond. :-)
There's also a lady named Weinberger; she and her father mostly do classical organ works, but that is some woman too.
I also dig Joey DeFrancesco and Dr. Lonnie Smith too. Lonnie's 70s records are what the old-timers call "funk," and that makes me smile. Joey F was younger when I first saw him; big fella, moves on a Hammond like it is an extension of his person. Saw him with Master Mclaughlin.
Anyway, there's a Jimmy Smith record on Verve from the early 70s called "Root Down." Get it please, you will enjoy thoroughly. Plus, Jimmy S. speaks between some takes, and his voice is basically gravel & sand underwater - it's great.
Why does it seem as if Jimmy Smith was being used frequently, compared to other jazzers, during the era in question?
Because Jimmy Smith was one of the main artists on the Verve label, and Verve was at the forefront of creating a hip, international, jazz/pop crossover aesthetic. And in general, the sound of the B3 was big then. Plus, you had film/TV composers like Lalo Schifrin, Q, Kenyon Hopkins, Gil Melle, Oliver Nelson, Legrand, and probably others I'm forgetting making albums for Verve during this period. It was inevitable.
Makes sense. Thanks Onyabirri. I believe JS was doing Verve until he left us. I have a more recent record called "dotcom Blues," and that's Verve also. Great label. Love Jimmy Smith; very gifted and generous player. The Sermon is one of those old great Van Gelder records that goes largely forgotten.
Why does it seem as if Jimmy Smith was being used frequently, compared to other jazzers, during the era in question?
Because Jimmy Smith was one of the main artists on the Verve label, and Verve was at the forefront of creating a hip, international, jazz/pop crossover aesthetic. And in general, the sound of the B3 was big then. Plus, you had film/TV composers like Lalo Schifrin, Q, Kenyon Hopkins, Gil Melle, Oliver Nelson, Legrand, and probably others I'm forgetting making albums for Verve during this period. It was inevitable.
Makes sense. Thanks Onyabirri. I believe JS was doing Verve until he left us. I have a more recent record called "dotcom Blues," and that's Verve also. Great label. Love Jimmy Smith; very gifted and generous player. The Sermon is one of those old great Van Gelder records that goes largely forgotten.
A lot of jazz purists - if such a thing even exists anymore - don't like 1960s Verve records or anything that Creed Taylor was involved with. But those Verve albums collectively embody the suave, international glamorous decadence of the 1960s.
A lot of jazz purists - if such a thing even exists anymore - don't like 1960s Verve records or anything that Creed Taylor was involved with. But those Verve albums collectively embody the suave, international glamorous decadence of the 1960s.
It's kind of the old jazz vs. new jazz talk that has been brewing since just about when you mention. Check out Verve Remixed and Verve Unmixed; Remixed contains totally cool retakes on some of the standards, with an RB-type flavor. Unmixed contains remastered versions of many standards you totally love. You'll appreciate these for sure OnyaBirri.
Lexedo, I have no idea really. It could be because he was pretty much THE face of the jazz organ (especially on the B3) so he would naturally be the "go to guy" if someone wanted a jazz organ sound for their recording. Also, he may have just said "yes" more than some of the other guys, perhaps because beyond doing mostly straight ahead jazz, he may have been more open to other musical avenues...or he just liked the money!
Are you familiar with Barbara Dennerlein, the German B3 jazz player? Best thing to come along for the jazz B3 world since Jimmy Smith.
[edit]I was speaking about a set with Dannerlein, the Breckers, and Don Alias. The set I was referring to was lifted from a radio program, and subsequently issued on CD. It was an unmentionable, and I have deleted reference to that recording within my post. Sorry.
Just wanted to bring this post back to life. Recently picked up the Warner Archive DVD. Being a big fan of '60's spy films, this one was thoroughly enjoyable. Nice, kinetic direction by Val Guest. The score is varied and quite enjoyable in a retro-sense. I would definitely welcome a CD release of Nascimbene's work on this film.
A lot of jazz purists - if such a thing even exists anymore - don't like 1960s Verve records or anything that Creed Taylor was involved with. But those Verve albums collectively embody the suave, international glamorous decadence of the 1960s.
Here is the WHERE THE SPIES ARE single--on Verve, with Jimmy Smith, arranged by Oliver Nelson, produced by Creed Taylor.
