- Barbara Morrison, vocalist
- Maia Heiss, background vocalist
- Tom Rainer, piano
- Chuck Berghofer, bass
- Peter Erskine, drums
- Alex Acuna, Latin percussion
- Larry Bunker, vibes
- Rick Rosenberg, guitar
According to
the brief PR blurb "In this fish-out-of-water movie, Lou's world is turned
upside-down when she falls for her best friend, Sassafras. Zaniness ensues when
the naive pair stumble into the erotic anarchy that was San Francisco in the
early 90s." Apparently this adaptation of a lesbian stage play "deals
with issues of non-monogamy" focusing up fantasy role playing and is
reputedly visually stunning
Mango Kiss was
awarded the Gold Medal for Director's Choice of Music at the Park City Film
Music Festival at Sundance. The score is composed by Matthew Ferraro, who has
several previous soundtrack credits but whose most high profile work to date
has been as an orchestrator on Futurama (1999-2003), the video game Medal
of Honor: Underground (2000), and as a music programmer on the mini-series Dune
(2000).
When this
review was originally published the music from Mango Kiss was only
available as a promo, but the same music as on that promo has now been given an
official commercial release, The album may still be hard to find though, but is
available direct through the link above. The disc features 29 minutes of what
is a most enjoyable jazz based score.
The credentials
are impeccable. In addition to a brass section comprising five saxes, four
trumpets and four trombones, the score features a stellar ensemble of top jazz
musicians, not the least of which is the powerhouse drums and percussion
pairing of Peter Erskine and Alex Acuna. Meanwhile featured vocalist Barbara
Morrison has performed with a virtual 'Who's Who' of the jazz and the blues
worlds including Dizzy Gillespie, James Moody, Ron Carter, Etta James, Jimmy
Smith, Dr. John, Terence Blanchard, Joe Sample, Cedar Walton, Nancy Wilson, Mel
Torme, Joe Williams, Tony Bennett, and Keb' Mo (Kevin Moore). She has appeared
everywhere from Montreaux to Carnegie Hall, and was the lead vocalist on the
soundtrack of The Hurricane (1999).
The album
features two delightful (though very similar) Latin instrumental versions of
Cole Porter's classic 'My Heart Belongs to Daddy', as arranged by Matthew
Ferraro, and a vocal version performed with considerable flair by Barbara
Morrison in a big band arrangement by Ferraro and Tim Simonec. Morrison also
performs the song 'Possessions', a stirring jazz-blues band number which she
delivers with both raw passion and tenderness.
In-between
these pieces the album offers nine mostly short original score cues. These
range from the quirky rhythmic electronics and processed whispered female
vocals of 'Mickey Seduces Sass' through the hip-hop meets '70's funk of 'Chelsea's Theme' (which comes complete with analogue synth. Lead line) to the featherweight
Latin tearoom dance of 'A-Cup-A-Cake-A'. They also include the vibes-led 'Candy
Poem', an MOR number which wouldn't have been out of place on a Henry Mancini
Pink Panther album, and the playfully 'Fantasy Theme', which includes a
pixilated Irish folk dance, and the slinky little brass cue, 'Lou Lusts' with
again a touch of the laid-back Mancini. 'Leslie and Val's Theme' sounds like a
brief extract of classic British Light Music, while 'Kaz's Loft' opts for an
infectious Latin dance groove with both real and sampled percussion. Finally
'Spin The Bottle' develops 'Chelsea's Theme' into a more steamy workout.
If jazz remains
at the heart of the score the 29 minutes offer a greater diversity of moods and
approaches than usually found on score albums twice the length. Depending on
the listener's receptivity to different styles this may or may not be a good
thing, but the fact is that at less than half an hour of finely polished and
superbly performed and recorded music few are going to feel this disc outstays
its welcome.
Gary Dalkin
4