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- Sandra Burlingame
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Both composer and lyricist have claimed that their Oscar-winning song came very easily to them. The title of the film determined the melody, and as Mancini said in his autobiography, Did They Mention the Music? “It just came, it rolled out.” Mercer, too, says that he “could not get the words down fast enough.”
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Andy Williams sang “The Days of Wine and Roses” on the film’s soundtrack and won a gold record for Columbia Records. His rendition charted for 12 weeks, peaking at #26, ahead of Mancini’s instrumental version which rose to #33. The song also received a Grammy for Song of the Year, and Mancini received Grammies for Record of the Year and Best Background Arrangement. The Best Song Oscar was the second for composer Henry Mancini and lyricist Johnny Mercer, who had won the 1961 Oscar for “Moon River” from the film Breakfast at Tiffany’s.
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The 1962 film The Days of Wine and Roses, based on J.P Miller’s “Playhouse 90” drama, received four other Academy Award nominations: Best Actor (Jack Lemmon), Best Actress (Lee Remick), Best Black-and-White Art Direction, Best Black-and-White Costumes. It deals effectively and realistically with the problems of alcoholism and the difficulties faced in recovery. Its title is derived from a 19th century poem by Ernest Dowson:
They are not long, the days of wine and roses:
Out of a misty dream
Our path emerges for awhile, then closes
Within a dream
Mercer’s lyrics, set to Mancini’s poignant melody, portend the tragedy awaiting Lemmon and Remick:
The days of wine and roses laugh and run away like a child at play
Through the meadow land toward a closing door
A door marked “nevermore” that wasn’t there before
The song seems to appeal to guitarists since several have recorded it, among them Joe Pass, Wes Montgomery, Barney Kessel, Jimmy Raney, John Abercrombie, Howard Roberts, and Bill Frisell. Vocalists Ernestine Anderson, Blossom Dearie, and Tony Bennett have recorded it, as well as pianists Bill Evans and Keith Jarrett, bassist Ray Brown, and saxophonists Dexter Gordon and Eddie “Lockjaw” Davis. Days of Wine and Roses is the title of the Maria Schneider Orchestra’s CD recorded live at the Jazz Standard and reissued in 2005.
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More information on this tune... |
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See the Reading and Research page for this tune for additional references. |
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- Sandra Burlingame
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| This section suggests definitive or otherwise significant recordings that will help jazz students get acquainted with
“Days of Wine and Roses.” These recordings have been selected from the Jazz History and
CD Recommendations sections.
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“Days of Wine and Roses” has been interpreted from numerous rhythmic perspectives. Guitarist Wes Montgomery’s 1963 recording (Pretty Blue) is a classic example of the song in a relaxed Latin or bossa nova setting. The same year, Nancy Wilson recorded a wonderful ballad version (Hollywood: My Way). Nowadays, the song is most often heard in a medium swing setting, and Oscar Peterson’s 1964 trio version (We Get Requests) is a highlight of the many recordings in that vein.
Noah Baerman - Jazz Pianist and Educator
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Musical analysis
of “Days of Wine and Roses”
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Original Key |
F
major |
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Form |
A
- B1 - A - B2 |
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Tonality |
Primarily
major |
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Movement |
Initial
upward leap followed by stepwise
motion that arcs before a series
of downward leaps (fifths and sixths)
leading into the next section. “B”
begins with a downward leap that
climbs stepwise before its descent
to the pickup of the second “A.”
The second “B” section climbs to
the highest note of the song pentatonically,
then descends the same way, eventually
arriving back at the tonic note. |
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Comments
(assumed
background)
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The harmonic progression of “A”
is remarkably similar to that of
“East of the Sun.” The difference
lies in Mancini’s use of the passing
Eb9 (+11) and the exotic
alteration of the D7 chord in the
third measure (which includes a
flatted ninth and fifth). In “B”
a series of “V7 - I” is used, sometimes
with the insertion or substitution
of a iiø7/ V to add some
spice. |
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K. J. McElrath - Musicologist for JazzStandards.com |
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Henry Mancini’s movie theme was quickly
covered by a number of jazz groups, mostly
for the “easy listening” music format which
was popular in the early ‘60s. The song
found great favor with guitarists, and versions
were recorded by Barney Kessel, Laurindo
Almeida and Wes Montgomery. Montgomery claimed
his favorite guitarist was Joe Pass. Pass’
session from 1963 was his first as a leader,
and it clearly shows he was already in command
of the prodigious technique that would gain
him great notoriety in the 1970s.
In 1960 vocalist/actor
Frank Sinatra formed his own record
label, Reprise, and signed the
Duke Ellington Orchestra to an exclusive
contract. Ellington, ever hoping to have
a hit record in a market trending more and
more towards rock ‘n roll and younger audiences,
tackled a lot of pop material, to the chagrin
of hardcore fans. Tenor saxophonist Paul
Gonsalves, whose fierce 27 choruses on Ellington’s
“Diminuendo and Crescendo in Blue” from
the Newport Jazz Festival in 1959 revitalized
Ellington’s career, turns in a memorable
ballad performance on “The Days of Wine
and Roses” from 1965.
Chris Tyle - Jazz Musician and Historian
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Additional information for "Days of Wine and Roses" may be found in:
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David Ewen
Great Men of American Popular Song
Prentice-Hall; Rev. and enl. ed edition
Unknown Binding: 404 pages
(1 paragraph including the following types of information: history.)
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| Click on any CD for more details at Amazon.com |
Nancy Wilson
Hollywood: My Way
Blue Note Records
Original recording 1963
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Accompanied elegantly by pianist Jimmy Jones and his orchestra, Wilson gives us a subtle, faithful and extremely pretty ballad performance.
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Art Farmer Quartet
Interaction/Sing Me Softly of the Blues
Collectables
Original recording 1964
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Farmer’s flugelhorn and the guitar of Jim Hall were particularly well-matched and this swinging performance is a terrific example of that. They weave between old-time swing and more interactive and unpredictable playing, with excellent solos by both men (separately and together) as well as bassist Steve Swallow.
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The Oscar Peterson Trio
We Get Requests
Polygram Records
Original recording 1964
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Peterson offers up a strong medium swing groove on “Days of Wine and Roses,” supported by drummer Ed Thigpen and a particularly inspired Ray Brown on bass. Peterson’s own solo on the track is one of his most tasteful.
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Joe Henderson, Wynton Kelly
Straight No Chaser
Polygram Records
Original Recording 1968
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This live recording with Wynton Kelly and his trio takes “Days of Wine and Roses” at a grooving medium swing tempo, but with the somewhat edgy risk-taking typical of Henderson at the time.
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Bill Evans, Tony Bennett
The Tony Bennett/Bill Evans Album
Fantasy
Original recording 1975
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Vocalist Bennett and pianist Evans give a straightforward ballad reading of the song, with Evans’ lush chords setting the stage for a slow and somewhat melancholy interpretation of the melody.
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Bill Evans
Marian Mcpartland's Piano Jazz
Jazz Alliance
Original recording 1978
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This radio version of “Days of Wine and Roses” is notable not only for the fluid and lush playing of pianists Evans and McPartland but also for the illuminating bits of verbal commentary that Evans offers up as they play.
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Sonny Criss
This is Criss
1991 Original Jazz Classics 430
Original recording 1966
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Alto saxophonist Criss tackles the ballad with a thoughtful ferocity that incorporates eloquence and intensity on this fast-paced reading. The rhythm section provides a bluesy shuffle for him to skate over.
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Wes Montgomery
Boss Guitar
Ojc
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Guitarist Montgomery creates a bewitching version of the song. While drummer Jimmy Cobb’s brushwork keeps a drowsy pace, Montgomery melodically propels the song forward and comes up with a dynamite solo.
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Bill Frisell
Is That You
1990 Nonesuch 60956
Original recording 1989
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Building layer upon abstract layer Frisell fashions an ethereal soundscape on solo electric guitar, allowing the listener to catch snippets of the source material.
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Niels-Henning Orsted Pedersen Trio
Friends Forever: In Memory of Kenny Drew
Milestone
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Bassist Pedersen recorded this CD with pianist Renee Rosnes and drummer Jonas Johansen in memory of pianist Kenny Drew with whom the Danish bassist played for three decades. The trio’s unsentimental take on “Days of Wine and Roses” reveals the song’s improvisational underpinnings.
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