Mancini Finale Celebrates Director Jack Elliott’s Life

The Mancini Musicale at Paramount Studios on Saturday night was planned as the climactic event for the Henry Mancini Institute’s fifth anniversary season.

With scheduled performances by Dianne Reeves, Herbie Hancock, Christian McBride and the institute musicians, as well as the presentation of an award to Quincy Jones, the evening was meant to be a colorful, celebratory experience.

That’s the way it wound up, as well, but not quite as originally planned. Earlier in the day, a pall fell over the event with the announcement that Jack Elliott, the institute’s musical director and principal guiding light, had died from a brain tumor.

And, despite the lovely outdoor setting in front of one of the classic Paramount gates, despite celebrity-crowded tables and the attractive jazz playing of a group of young institute musicians, the evening began in a somewhat less than joyous mode.

It helped that the Institute Orchestra, conducted by Patrick Williams, could provide spirited renderings of Mancini classics.

Reeves’ renderings of “Embraceable You” and “Lullaby of Birdland”--immensely aided by Billy Childs’ orchestrations--were stunning examples of her maturity as a creative artist. And Hancock’s brief appearance with his own “Tell Me a Bedtime Story” further added to a program filled with musical riches.

But it wasn’t until Ginny Mancini, introducing the awards portion of the program, placed the focus upon Elliott and his contributions, that the evening began to unwind, and the audience could, in effect, exhale. After accepting his award from Sidney Poitier, Jones described Elliott in loving terms, remembering him both respectfully and humorously.

He insisted upon honoring and cheering a life. He insisted upon remembering that Elliott had been the heart and soul of a program whose participants have carried, and will continue to carry, a message of musical diversity to every part of the world.

Then Jones stepped to the podium to conduct the orchestra in a full-out, high-spirited rendition of his own “Soul Bossa Nova,” and the event became truly celebratory.

Jack Elliott was always far more comfortable working with his players than he was participating in the glitter of fund-raising.

One suspects that as Jones and the musicians enlivened the concert, Elliott would have leaned back in his chair, watched his young charges in action, and enjoyed every minute.