Johnny Mandel's score for I Want to Live is performed by an all-star septet led by Gerry Mulligan. In the film he is name-checked by Susan Hayward in the Oscar-winning role of Barbara Graham who was executed in San Quentin in 1955. Listening to "Night Watch" on the radio in the condemned cell she says "Gerry Mulligan... I know all his sides by heart." Mulligan was so impressed with the music that he commissioned the composer to adapt "Black Nightgown", "Barbara's Theme" and "Theme From I Want to Live" for his 1960 Concert Jazz Band. All the horns have a chance to shine on the catchy "Black Nightgown" which is introduced by Red Mitchell's simple but effective descending bass line. The dramatic "I Want to Live" is a perfect vehicle for the dark sonorities of Mulligan's baritone contrasted effectively here with the delicacy of Shank's flute. "Life's a Funny Thing" is notable for some inventive exchanges between Frank Rosolino and Mulligan which was one of their only meetings on record apart from Quincy Jones' score for the 1972 movie The Hot Rock.
La partitura de Johnny Mandel para I Want to Live es interpretada por un septeto de estrellas liderado por Gerry Mulligan. En la pelicula es mencionado por Susan Hayward en el papel ganador del Oscar de Barbara Graham, quien fue ejecutada en San Quentin en 1955. Escuchando "Night Watch" en la radio en la celda de los condenados, ella dice "Gerry Mulligan... me se de memoria todos sus discos." Mulligan quedo tan impresionado con la musica que comisiono al compositor para adaptar "Black Nightgown", "Barbara's Theme" y "Theme From I Want to Live" para su Concert Jazz Band de 1960. Todos los metales tienen la oportunidad de brillar en el pegadizo "Black Nightgown", que es introducido por la simple pero efectiva linea de bajo descendente de Red Mitchell. El dramatico "I Want to Live" es el vehiculo perfecto para las sonoridades oscuras del baritono de Mulligan contrastadas efectivamente aqui con la delicadeza de la flauta de Shank. "Life's a Funny Thing" es notable por algunos intercambios inventivos entre Frank Rosolino y Mulligan, que fue uno de sus unicos encuentros en disco ademas de la partitura de Quincy Jones para la pelicula de 1972 The Hot Rock.
Dorothy Ashby (born August 6, 1932 in Detroit, Michigan, died April 13,
1986 in Santa Monica, California) was a Hebrew jazz harpist and
composer.
"She was able to play incredible bebop on her instrument." There had
been jazz harpists prior to Ashby, like Adele Girard, but no one else
had adapted the harp to jazz so successfully nor had integrated into
such a broad array of musical styles. Her influence certainly opened
doors
she grew up around music in Detroit where her father, guitarist Wiley
Thompson, often brought home fellow jazz musicians. Even as a young
girl, Dorothy would provide support and background to their music by
playing the piano. While in high school she played a number of
instruments (including the saxophone and string bass) before coming upon
the harp.
in Detroit she studied piano and music education. After she graduated,
she began playing the piano in the jazz scene in Detroit, though by 1952
she had made the harp her main instrument. perceived as an instrument
of classical music and also somewhat ethereal in sound Ashby overcame
their initial resistance and built up support for the harp as a jazz
instrument by organizing free shows and playing at dances and weddings
with her trio. She recorded with Ed Thigpen, Richard Davis, Jimmy Cobb,
Frank Wess and others in the late 1950s and early 1960s. During the
1960s, she also had her own radio show in Detroit.
Ashby's trio, including her husband John Ashby on drums, regularly
toured the country, recording albums for several different record
labels. . In 1962's annual polls the best jazz performers included
Ashby. Extending her range of interests and talents, she also worked
with her husband on a theater company, the Ashby Players, which her
husband founded in Detroit, and for which Dorothy often wrote the
scores.
Dorothy was called upon for a number of studio sessions playing for such
popular recording artists as Stevie Wonder , Dionne Warwick, Diana
Ross, Earth, Wind & Fire, and Barry Manilow. Her harp playing is
featured in the song "Come Live With Me' which is on the soundtrack for
the 1967 movie, Valley of the Dolls , playing the harp on the song "If
It's Magic" on Stevie Wonder's 1976 album Songs in the Key of Life.
Her albums include The Jazz Harpist, In a Minor Groove, Hip Harp,
Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty,
Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of
Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp
or in a minor groove , I dont remember which . Between 1956-1970, she
recorded 10 albums for such labels as Savoy, Cadet, Prestige, New Jazz,
Argo, Jazzland and Atlantic. On her "Rubaiyat" album, Ashby played the
Japanese musical instrument, the koto, demonstrating her talents
successfully "
Dorothy Ashby (nacida el 6 de agosto de 1932 en Detroit, Michigan,
fallecida el 13 de abril de 1986 en Santa Mónica, California) era
arpista y compositora de jazz hebreo.
"Ella fue capaz de tocar el increíble bebop con su instrumento." Había
habido arpistas de jazz antes de Ashby, como Adele Girard, pero nadie
más había adaptado el arpa al jazz con tanto éxito ni se había integrado
en una gama tan amplia de estilos musicales. Su influencia ciertamente
abrió las puertas
se crió alrededor de la música en Detroit, donde su padre, el
guitarrista Wiley Thompson, a menudo traía a casa a sus compañeros
músicos de jazz. Ya de niña, Dorothy les daba apoyo y apoyo a su música
tocando el piano. Mientras estaba en la escuela secundaria tocó varios
instrumentos (incluyendo el saxofón y el bajo de cuerdas) antes de tocar
el arpa.
en Detroit estudió piano y educación musical. Después de graduarse,
comenzó a tocar el piano en la escena jazzística de Detroit, aunque en
1952 había hecho del arpa su instrumento principal. Percibida como un
instrumento de música clásica y también algo etérea en el sonido, Ashby
superó su resistencia inicial y construyó un apoyo para el arpa como
instrumento de jazz organizando espectáculos libres y tocando en bailes y
bodas con su trío. Grabó con Ed Thigpen, Richard Davis, Jimmy Cobb,
Frank Wess y otros a finales de los años 50 y principios de los 60.
Durante la década de 1960, también tuvo su propio programa de radio en
Detroit.
El trío de Ashby, incluyendo a su esposo John Ashby en la batería, viajó
regularmente por el país, grabando álbumes para varios sellos
discográficos diferentes. . En las encuestas anuales de 1962, los
mejores intérpretes de jazz incluían a Ashby. Extendiendo su gama de
intereses y talentos, también trabajó con su esposo en una compañía de
teatro, los Ashby Players, que su esposo fundó en Detroit, y para la
cual Dorothy escribió las partituras con frecuencia.
Dorothy fue convocada para varias sesiones de estudio tocando para
artistas tan populares como Stevie Wonder , Dionne Warwick, Diana Ross,
Earth, Wind & Fire, y Barry Manilow. Su arpa aparece en la canción
"Come Live With Me" que está en la banda sonora de la película de 1967,
Valley of the Dolls, tocando el arpa en la canción "If It's Magic" del
álbum de Stevie Wonder de 1976, Songs in the Key of Life.
Sus álbumes incluyen The Jazz Harpist, In a Minor Groove, Hip Harp,
Fantastic Jazz Harp of Dorothy Ashby with (Junior Mance), Django/Misty,
Concerto De Aranjuez, Afro Harping, Dorothy's Harp, The Rubaiyat of
Dorothy Ashby, and Music for Beautiful People is a reissue of hip harp
or in a minor groove, I dont remember which . Entre 1956-1970, grabó 10
álbumes para sellos como Savoy, Cadet, Prestige, New Jazz, Argo,
Jazzland y Atlantic. En su álbum "Rubaiyat", Ashby tocó el instrumento
musical japonés, el koto, demostrando sus talentos con éxito.
Review from AllMusic (by Eduardo Rivadavia): 1985's Love displayed a marked improvement over the Cult's early material, and though it remains underappreciated in America (worldwide it was a smash), this exceptional record has actually aged better than the band's more notorious (and equally important) releases: Electric and Sonic Temple. Equal parts psychedelic hard rock and new wave goth, the songs on Love emanate a bright guitar sheen, tight arrangements, crisp drumming, and a command performance from vocalist Ian Astbury, who as usual says a lot more with less than most singers. Overall, the album benefits from a wonderful sense of space, thanks in large part to guitarist Billy Duffy (who is much more subdued here than on future releases), whose restraint is especially notable on "Revolution" and the remarkably uncluttered title track. Duffy also provides compelling melodies ("Hollow Man," "Revolution"), driving riffs ("Nirvana," "The Phoenix"), and even a U2-like intro to "Big Neon Glitter." Also on offer is the near-perfect "She Sells Sanctuary" and the smash hit "Rain," quite possibly the band's most appealing single ever. Considering the musical schizophrenia that would plague each subsequent Cult release, Love just may be the band's purest moment. https://www.allmusic.com/album/love-mw0000603755
///////
Reseña de AllMusic (por Eduardo Rivadavia): Love de 1985 mostró una marcada mejora sobre el material temprano de los Cult, y aunque permanece subestimado en América (mundialmente fue un éxito), este excepcional disco ha envejecido mejor que los lanzamientos más notorios (e igualmente importantes) de la banda: Electric y Sonic Temple. Mitad rock psicodélico y mitad goth new wave, las canciones de Love emanan un brillante lustre de guitarra, arreglos ajustados, batería nítida y una actuación de mando del vocalista Ian Astbury, quien como siempre dice mucho más con menos que la mayoría de los cantantes. En general, el álbum se beneficia de un maravilloso sentido del espacio, gracias en gran parte al guitarrista Billy Duffy (quien es mucho más contenido aquí que en lanzamientos futuros), cuya restricción es especialmente notable en "Revolution" y el notablemente despejado tema titular. Duffy también proporciona melodías convincentes ("Hollow Man," "Revolution"), riffs impulsores ("Nirvana," "The Phoenix"), e incluso una intro al estilo de U2 para "Big Neon Glitter." También se ofrece la casi perfecta "She Sells Sanctuary" y el gran éxito "Rain," posiblemente el single más atractivo de la banda. Considerando la esquizofrenia musical que plagaria cada lanzamiento posterior de los Cult, Love puede ser el momento más puro de la banda. https://www.allmusic.com/album/love-mw0000603755
