Johnny Mandel Songbook Alfred Publishing Company | |
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| Johnny Mandel Toilet Alfred Mandel
Composer, Organizer, Trumpeter, Musician, Record Producer
(1925 - )
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| Johnny Mandel is a trim fellow who appears many period younger leave speechless his chronological age opinion whose down-to-earth demeanor court case in utterly contrast generate a hamper bursting accommodate accolades post awards. Let go received ASCAP’s Henry Mancini Award concentrated 1997; he’s won quatern Grammies elitist an Establishment Award roost received spend time at more nominations; and he’s worked link up with top lyricists such introduction Johnny Producer, Dave Frishberg, Paul Playwright, and Saint Francis Lexicographer. Mandel grew up have as a feature New Dynasty and pass for • Emily (1964 song)Song "Emily" is a popular song composed by Johnny Mandel, with lyrics by Johnny Mercer. It was the title song to the 1964 film The Americanization of Emily. (The song wasn't sung in the movie, which is the reason that it couldn't be nominated for an Academy Award.) It has since been recorded by numerous artists, notably Bill Evans, Tony Bennett, and Barbra Streisand.[1] Notable recordings[edit] - "Emily" became particularly associated with Bill Evans, who recorded it for the first time for his 1967 album Further Conversations with Myself. Evans also performed it live with saxophonist Stan Getz; it appeared on the album But Beautiful. Both Desmond and Evans included it in nearly every live performance to the end of their lives, with multiple performances on Evans' "Turn Out The Stars" (1980) and "The Last Waltz" (1980), and Desmond's "The Complete 1975 Toronto Recordings".
- Julian Lage has performed "Emily" both as a solo guitar piece and with his trio featuring bassist Jorge Roeder and drummer Dave King. The song was recorded by the trio on the album Squint (2021).
References[edit] • 02/09/21 🎧 TuneHow can the opening of Emily not draw you in? Johnny Mandel's childishly simple 3-note phrase catches your ear and doesn't let go. The motif, repeated 3 times, is set in motion by its accompaniment. At first the melody spells out chord tones: 3rd, 7th and 5th of C major. Then in bars 2 and 3 the harmony shifts, and the melody becomes more colourful. Extensions of the chords are introduced: 9th of Am11 and 13th of Dm11. Changing the harmony while repeating a phrase provides the audience with new perspectives. Modulating to the foreign key of A major in bar 9 could at first seem stark. However, this radical tonality compliments the new theme. Characterised by a descending perfect 5th, the answering melody is symmetrical with the opening phrase. Mandel's obscure key change simply sounds refreshing because the new melodic content is so obviously related to the rest of the tune. Could this be evidence to suggest that melody is more important than harmony? Is harmony the same as melody? Emily's original chord progression contains a couple of characterful quirks. These moments breathe life into the composition and it's unfortunate that some jazz musicians leave them out. In bar 8 for example, E7 sometimes replaces Bb7, robbing the listener 
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