Jam session at Henry Mancini's home, Fernando Gelbard (at left), Henry Mancini (holding his flute) and Hal Linden (holding his clarinet). The piano player (not seen here) was Mel Torme (actually, the top of his head is seen in the lower right portion of the photo!)

"Henry Mancini and I were good friends. I played with him a few times (he and I play flute) and we served on the board of the Foundation for New American Music for many years. His death was a great loss. He was a great, down to earth man."--Fernando Gelbard

 Henry Mancini:

Audio Fidelity

Per-cus-sive%20-%20Front.jpg  PercussiveJazz-b.jpg
[Original LP]

Side1label.png  Side2label.png
[Original LP labels]

Peter Appleyard and Orchestra, "Percussive Jazz - Doctored for Super-Sound", Audio Fidelity #DFS-7002 (1960).[LP]
Peter Appleyard and Orchestra, "Percussive Jazz - Doctored for Super-Sound", Audio Fidelity #DFST-7002 (1960).[Reel-to-Reel Tape]

Mancini's "Peter Gunn" is featured on this album.


   1. The Man with the Golden Arm
   2. The Man That Got Away
   3. Dragnet
   4. Witchcraft
   5. Harlem Nocturne
   6. There Will Never Be Another You
   7. Peter Gunn (Mancini)
   8. Mack the Knife
   9. Why Don't You Do Right
  10. Tenderly
  11. Mambo Inn
  12. Undecided

Percussion, according to Merriam-Webster, is a striking or beating of sound on the ear. Percussion, according to Peter Appleyard and Sid Cooper, is the vital fundamental of creative jazz. They embellish it with new tonal essences and record it with a perspicacious ear for the vagaries of stereophonia. Their interpretation of the jazz beat goes a step further than just the feel of a swinging tempo. They add a variety of percussive colors, sometimes subtle tints, sometimes brash hues.  Twelve of New York's top recording jazz artists walked into a 24th Street recording studio on an incogruously cool August evening and sat down behind these Cooper arrangements. Telefunken microphones were hung strategically to pick up every last overtone and nuance. On cue from Peter Appleyard, Bobby Rosengarden counted off an integrated swinging beat. In the control room, amid the usual, partially-drained coffee containers, Sid Frey, young company President of Audio Fidelity, now wearing his Artist and Repertoire 'hat', hovered over audio engineer Ernie Oelrich who set his myriad dials with an inimitably deft touch. In the subsequent paroxysms that rent the studio air, every last note was brought to account for volume, position, dynamics, presence and tonal quality. The result is an audiophile's dream-the happy blend of superlative jazz in the modern idiom with percussive treatments, brilliant virtuosity and engineering wizardry. On a competent play-back system, the dynamics of the 1812 Overture are bland by comparision. Just listen!

(from the original liner notes)

LP produced by Sidney Frey.

Jo Basile Orchestra, "Foreign Film Festival', Audio Fidelity #6124 (19___).[LP]
No album photo available.

Mancini compositions include:

Charade: Theme

Hatari: Baby Elephant Walk

Personnel: Phil Bodner--Saxophone, Woodwind; Dick Hyman--Piano; Bob Haggart--Bass; Al Caiola--Guitar; Al Casamenti--Guitar; George Devens--Drums; Ernie Hayes--Organ; Phil Kraus--Percussion; Bobby Rosengarden--Drums; Mr. Big--Guitar.


Bossa Tres, "Os Bossa Tres & Seus Amigos", Audio Fidelity #AFLP 2111 (1965).[LP]

This album includes Henry Mancini's "Days of Wine and Roses".

Musician personnel:  Luiz Carlos Vinhas (Piano), Edison Machado (Drums), Sebastiao Neto (bass) + Sonny Simons (Alto sax), Prince Lasha (Flute), Clifford Jordan (Tenor sax, flute).

Back to Recordings Index

Back to Site Index

Back to Home Page