Title: Adiós,
Sabata (Indio Black)
Year: 1970
Composer: Bruno Nicolai
The sequel
to Sabata started out as a solo film
for another character called Indio Black. However during production the success
of Sabata made the producers change
the film into a sequel. The composer for the film was also different, namely
Bruno Nicolai who also had several Spaghetti Western films under his name. His
scores for the genre tended to be a bit hit-or-miss for me, usually boasting
awesome themes but unable to keep the interest up for the whole score. I can
happily say that fortunately Adiós, Sabata
belongs into the ‘hit’ category.
Even more
so compared to the first film, this one is dominated by one single theme.
However this time there are more distinctive moments of non-main-theme-based
material. The main theme heard in the opening track is a sorrowful tune with
some hints to victorious Morriconean Spaghetti Western chords. The melody is
heard first by a classic solo whistling before it turns into a full gallop for
the whole orchestra and choir. Within the first cue it never gets into full
flight though but quiets down to solo recorder effects followed by a sudden
joyous fiddle surge. Most of the theme’s latter reprises are written for solo
woodwinds, especially bassoon or whistling and they’re surprisingly introverted
rather than flashy. The happier B section of the melody is heard in track 3 but
it cools down before getting really going. Main
theme #5 is the fullest version thus far, including the choir’s spoken word
of “Indio Black” and rises up to
another glorious orchestral statement. Version #6 starts straight from the driving B section followed by a
sublime action version of the theme. The ending two single versions are a look into
the whole score, first one a full theme statement, the latter reprising the
Mexican mariachi music and the electric guitar waltz heard in track 12.
Besides the
main theme the album has plenty of action and suspense material. The big fight is the first one and it
balances between massive orchestral heroics and suspense writing with martial
undertones eventually leading into a dramatic military march. More furious
action follows in Action sequence which
once again bounces between lighter suspense and large-scale bursts of power.
Even hints of the previous march are added for some extra colour among high
horror music strings. A suspense motif of descending low piano rumbles is also
introduced. Nicolai’s suspense scoring here is far more effective compared to
its predecessor, for instance Suspense
sequence is so descriptive with its palpable sense of tension before
changing into a fine main theme reprise. Suspense
sequence #3 in particular allows the music to take its time and venture
through empty Western town streets. Eventually there is a swaying new electric
guitar tune with colourful, birdlike flutes and even a full version of the main
theme.
The album
consists mostly of dramatic moments like this but there are some breathers
sprinkled in between. Stompede begins
with tuneful saloon piano and then moves into a short elegy for solo guitar and
light strings which is actually the main theme in disguise. Similar
instrumentation returns in Deguello but
the melody is a new one. After the main theme, a lullaby for the solo bassoon
leads the listener into an unexpected music box tinkling the main theme. The
lullaby returns beautifully in Pastorale after
a mix of the suspense motif and main theme. The most surprising combination has
to be Theme –piano version which is a
full version of the main theme for a saloon piano which blurs the line between
source music and regular film scoring. This cue is easily one of the album’s
finest. Another surprise appears in Mariachi,
a jubilant Mexican source cue for the full orchestra followed by Mexican choir, a two-voice acapella
source.
Nicolai’s
score is clearly more constant with its quality but overall the highlights
aren’t as special as in the first score. Also this time there is only one
single theme and if you don’t enjoy it, you’re going to have a tedious time
with this album. Luckily the best score of the trilogy is still left and you
don’t have to choose between these two for the best Sabata score.
Rating: ****
Tracklist:
1. Indio
Black (Main theme) (03:07) ****
2. Indio
Black (The big fight) (03:43) ****
3. Indio
Black (Main theme #2) (01:57) *****
4. Indio
Black (Action sequence) (05:18) ****
5. Indio
Black (Main theme #3) (01:27) ****
6. Indio
Black (Suspence sequence) (01:38) ****
7. Indio
Black (Main theme #4) (01:45) ****
8. Indio
Black (Stompede) (01:43) *****
9. Indio
Black (Main theme #5) (02:13) *****
10. Indio
Black (Suspence sequence #2) (01:29) ***
11. Indio
Black (Main theme #6) (02:16) *****
12. Indio
Black (Suspence sequence #3) (05:06) *****
13. Indio
Black (Main theme #7) (01:04) ****
14. Indio
Black (Deguello) (03:35) *****
15. Indio
Black (Pastorale) (02:04) *****
16. Indio
Black (Suspence sequence #4) (04:41) ****
17. Indio
Black (Action sequence #2) (02:12) ****
18. Indio
Black (End theme) (01:36) ****
19. Indio
Black (Theme - piano version) (02:31) *****
20. Indio
Black (Mariachi) (01:22) ****
21. Indio
Black (Mexican choir) (01:35) ***
22. Indio
Black (Mariachi 2) (01:17) ***
23. Indio
Black (Side A) (02:12) *****
24. Indio
Black (Side B) (02:48) ****
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