Giallo fever: part 12

Title: Indagine su un delitto perfetto (The perfect crime)

Year: 1978

Composer: Carlo Savina

Indagine su un delitto perfetto wasn’t a classical Italian giallo film with a masked killer going around killing young women, but more of a corporate thriller story where people are killed while pursuing a chairmanship. Carlo Savina’s score harks back to classic giallo progressions and moods, though explores new ideas which represent the buzzling underworld of the city of London.

Right from the start the listener is thrown into a world of mystery and murder. The track develops from the schizophrenic piano phrases to a mellow main theme tune which features the classic voice of Edda dell’Orso and some groovy bongo drums. Sadly the solo voice isn’t utilized again until the finale cue. The score is basically monothematic and it’s actually surprising how many of the cues incorporate the melody in some shape or form. This already elevates the whole score and especially the moody suspense cues to a tightly cohesive experience.

The main go-to instrument for the theme is the bass flute which has qualities fit for a 007 score. The first full reprise is heard in Seq. 3 which resolves into a dreamy and jazzy chorale for the flute and keyboards. Those same moods return briefly in Seq. 4 before it once again turns back to the chase style arrangement of the main title. However from that onwards it is mostly developed within the suspense department, such as in the impressionistic opening of Seq. 5 which later explores the keyboard suspense motif heard briefly in Seq. 2. Sparse piano chords dominate the following cue before the man theme rises again from the darkness offering a soothing, jazzy moment. The score starts to break down even more in Seq. 7 which includes floating, strangely evocative chords along with another beaten down main theme version for bass flute.

Seq. 8 is perhaps the album’s only cheerful moment written for a bar piano that has a romantic prelude. The schizophrenic phrases of the main title return in Seq. 9 which then features a reprise of the chase arrangement which cools down significantly to bare rumbles in the dark alleyways. The longest stretch of suspense, Seq. 10, is unfortunately the most boring one. The absence of the main theme is clearly noticeable this time and the leftovers are just an uninteresting bunch of moods that are not even that frightening. Compare them to Seq. 11 which is excellent especially when listened through headphones. Though the cue is quiet and sparse, what makes it so effective is the clever orchestration of woodwinds playing at their lowest range and some distant bar piano disturbed by high tinkling effects. Seq. 12 on the other hand has my favourite versions of the main theme presented in an otherworldly, dream-like way that is soothingly disturbing. The following solo piano version of Seq. 13 can almost be considered beautiful before it moves again to more macabre variations perfect for morbid discoveries.

I love how Savina crafted a score this suspenseful that features no strings and on the whole only a bare minimum of instruments needed. Though some of the moodier tracks can’t reach the desired effect on album, there are many exceptional moments that benefit from the chosen theme-and-variations type approach.

Rating: ****

Tracklist:

1. Indagine su un delitto perfetto - Seq. 1 (01:51) *****

2. Indagine su un delitto perfetto - Seq. 2 (01:39) ***

3. Indagine su un delitto perfetto - Seq. 3 (02:04) *****

4. Indagine su un delitto perfetto - Seq. 4 (01:49) ****

5. Indagine su un delitto perfetto - Seq. 5 (02:03) ****

6. Indagine su un delitto perfetto - Seq. 6 (02:19) ****

7. Indagine su un delitto perfetto - Seq. 7 (01:06) *****

8. Indagine su un delitto perfetto - Seq. 8 (01:38) ****

9. Indagine su un delitto perfetto - Seq. 9 (02:48) ****

10. Indagine su un delitto perfetto - Seq. 10 (04:25) **

11. Indagine su un delitto perfetto - Seq. 11 (03:25) *****

12. Indagine su un delitto perfetto - Seq. 12 (02:59) *****

13. Indagine su un delitto perfetto - Seq. 13 (02:33) *****

14. Indagine su un delitto perfetto - Seq. 14 (02:19) *****

15. Indagine su un delitto perfetto - Seq. 15 (01:15) ****

CrimeWaves: part 9

Title: Qualcuno ha visto uccidere… (Witness to murder)

Year: 1973

Composer: Stelvio Cipriani

For a movie about a guy killing his wife’s lover by planning a plane crash and dealing with the revenge caused by it, the score seems rather tame. Cipriani wrote two main themes that are perhaps too light for the subject matter and don’t really stand out from the crowd of other exceptional main themes created by the composer.

The album opens with a somewhat groovy arrangement of the main theme. It’s rather similar to other melodies for his works in the giallo genre, but instead of the regular female voice of Nora Orlandi, the melody is carried by a solo saxophone and electric guitar. The underlying latin rhythms give the cue some 70s cop show type edge which I like. The bouncy bassline is heard later in the score as an action motif that dominates the score’s two best cues, Seq. 13 and 15. The first is the fullest arrangement of the main theme simultaneously working as an exhausting chase cue. It goes through many instrumental solos like a marimba, a theatre organ and wild percussion section showing the orchestral brilliance Cipriani was capable of. The latter highlights an awesome saxophone solo played with passionate clarity. The same brilliant sax carries over to Seq. 16 but after so many repetitions of the same motif it starts to get a bit redundant. Unfortunately these cues are really the first ones after the opening that burst with any energy or excitement. Any previous versions of the main theme, like Seq. 3, 4 & 10, act as alright background music but offer no extra punch.

The love theme, Seq. 2, is a sweet lullaby that almost puts you to sleep which isn’t a compliment in a film where brutal acts of crime appear. It’s a simple tune thus offering almost no room to grow to anything more substantial. Though Seq. 8 tries to connect it with the suspense stylings, the result leaves the listener cold because the orchestration is just too plain, especially when compared to the complex orchestrations of the chase cues. The tremolo strings playing the main theme’s chords are a sweet touch at the beginning of Seq. 17 and the resulting love theme statement might be the album’s sweetest. Fortunately the ‘final confrontation’ i.e. the last suspense track, Seq. 18, combines snippets of the love theme and the suspense material far better than the previous attempts.

As the story unfolds, a few other styles emerge as well, like the bar source music of Seq. 5 and 14 both of which are built around simplistic, repeating riffs. The first attempts of so-called suspense of Seq. 7 are just a collection of electric guitar droning dissonantly over looping bass figures culminating into some annoying distorted guitar notes. In Seq. 9 it’s hard to even hear anything because the orchestration is so sparse. Even the short love theme reprise at the end can’t salvage this bore of a cue. Seq. 11 at least tries to offer something new by combining a glockenspiel to the distorted guitars, which are still annoying as hell. Luckily the previously mentioned action motif brings some new life to the score with some crazy keyboard effects in Seq. 12 creating an actually enjoyable cue.

I really didn’t care that much of this album. The score feels a bit like it was written on autopilot; put together with bits and pieces from better scores and failing to find cohesion in the process. Though there are a few instances where the music soars with pace and excitement and the musicians seem to have fun, most of the score is just too dull to leave a lasting impact.

Rating: **1/2

Tracklist:

1. Qualcuno ha visto uccidere (Seq. 1 - Titoli) (02:35) ****

2. Qualcuno ha visto uccidere (Seq. 2) (02:04) ***

3. Qualcuno ha visto uccidere (Seq. 3) (02:01) ****

4. Qualcuno ha visto uccidere (Seq. 4) (02:09) ***

5. Qualcuno ha visto uccidere (Seq. 5) (01:24) **

6. Qualcuno ha visto uccidere (Seq. 6) (00:59) **

7. Qualcuno ha visto uccidere (Seq. 7) (03:57) *

8. Qualcuno ha visto uccidere (Seq. 8) (01:54) **

9. Qualcuno ha visto uccidere (Seq. 9) (03:29) *

10. Qualcuno ha visto uccidere (Seq. 10) (01:41) ***

11. Qualcuno ha visto uccidere (Seq. 11) (01:08) **

12. Qualcuno ha visto uccidere (Seq. 12) (02:27) ****

13. Qualcuno ha visto uccidere (Seq. 13) (04:31) *****

14. Qualcuno ha visto uccidere (Seq. 14) (01:01) **

15. Qualcuno ha visto uccidere (Seq. 15) (01:43) *****

16. Qualcuno ha visto uccidere (Seq. 16) (03:08) ****

17. Qualcuno ha visto uccidere (Seq. 17) (02:01) ****

18. Qualcuno ha visto uccidere (Seq. 18) (00:55) ***

19. Qualcuno ha visto uccidere (Seq. 19) (03:48) ***

20. Qualcuno ha visto uccidere (Seq. 20 - Finale) (01:27) ***

WTF (Weird tho' fabulous): part 8

Title: Edipeon – il sapore della pelle

Year: 1970

Composer: Stelvio Cipriani

I was saddened by the passing of one of the greats of Italian film music, Maestro Stelvio Cipriani. He was an incredibly prolific composer who wrote dozens of film scores a year during his prime with stupendous quality. Luckily the labels still release unreleased music by him and I doubt this will cease anytime soon. I decided to revisit one release from 2015 by Digitmovies. The obscure film is about a teenager dealing with Oedipus complex and other unhealthy desires finally winding up to murder and suicide. Cipriani’s score rises above all this with classically beautiful, restrained music that includes some of his most beautiful passages.

The opening Seq. 1 is a true beauty a melody, beginning with delicate harp playing that makes way to the recorder and later to the voice of Edda dell’Orso. The chord progressions are clearly Baroque in nature and after a modulation the piece turns into an actual medieval dance piece with the high soprano voice singing in the distance. Unfortunately Cipriani rarely returns to this idea later in the score. In Seq.2 it’s heard as a more menacing organ chorale which turns into a near horror territory before introducing the film’s real main theme that gets more coverage later in the score. The Baroque recorder is combined to unsettling flute and electric guitar effects along with vocal ‘whoo-hoos’ in the bizarre yet engaging Seq. 5. Finale is a short reprise of the opening theme and a fine end to the album.

A variation of the main theme, probably most familiar Cipriani melody heard on this album compared to his other works, is heard in Seq. 3 as a laid-back bossa cue with Edda’s scat vocals. This cue was previously released as public domain library music and I’ve surprisingly heard this cue playing in some YouTube videos quite recently. The main theme is hinted again in Seq. 11 disguised as a beat cue but the real first full performance is in the following Seq. 12. Here it’s sung by Edda with scat vocal stylings familiar to works of Ennio Morricone. Many full versions of the theme follow in cues Seq.15, 17, 18, 22, 23 and 24. The problem is that the theme gets rather repetitive eventually and slightly loses its magic in the process. Notable versions however include Seq. 17 with a classical-guitar waltz version with the vocals and Baroque flute, and Seq. 18 with a suspenseful climax to tremolo strings.

Another melodic winner is the score’s third thematic idea first heard in Seq. 4, clearly borrowing a note or two from Chaplin’s Smile. Nevertheless it is a spectacular theme that resonates childlike innocence that is highlighted by its usually small-scale orchestrations. Seq. 8 is a simple flute, guitar and percussion trio whereas Seq. 9 begins with an emotional string quartet that then gets going after a percussion set joins the fun. The plainest but probably prettiest version is the passionate solo piano performance, Seq. 10 probably played by the composer himself which gets me almost teary-eyed. The final version of Seq. 25 is an emotional send-off with a mournful organ prelude that leads to a bare harp and solo violin duet.

As for usual there are also moments that aren’t linked to the main thematic material. These include two beatnik party cues Seq. 7 & 16 with groovy keyboard solos and Seq. 13: a fast, walking bass heavy chase scene with out-of-tune guitar twanging and more of those groovy keyboards. A melancholic organ waltz Seq. 20 underscores the film’s more tragicomic aspects with slight touches to Italian folk music. A previously unheard melody, a romantic bolero for oboe and strings is heard in Seq. 21 which turns about to be one of the score’s most unique little moments.

The score has elements like the small-scale Baroque orchestration and progressions that are rather unique to this very score. Still the main theme is rooted in the same pool where Cipriani usually drew his thematic ideas which gives that familiar comfort. The latter half of the album drags a little after so many similar versions of the same theme with only slight variations. Overall it’s however a fine, beautiful composition that every fan of the composer should check out.

Rating: ****1/2

Tracklist:

1. Edipeon - seq.1 Titoli (02:43) *****

2. Edipeon - seq.2 (01:31) ****

3. Edipeon - seq.3 (03:12) ****

4. Edipeon - seq.4 (01:28) *****

5. Edipeon - seq.5 (01:39) *****

6. Edipeon - seq.6 (01:29) ****

7. Edipeon - seq.7 (02:37) ***

8. Edipeon - seq.8 (01:48) *****

9. Edipeon - seq.9 (01:15) *****

10. Edipeon - seq.10 (01:24) *****

11. Edipeon - seq.11 (01:48) ****

12. Edipeon - seq.12 (02:05) *****

13. Edipeon - seq.13 (02:12) *****

14. Edipeon - seq.14 (02:29) ****

15. Edipeon - seq.15 (02:17) *****

16. Edipeon - seq.16 (01:31) *****

17. Edipeon - seq.17 (02:30) *****

18. Edipeon - seq.18 (01:49) *****

19. Edipeon - seq.19 (02:23) ****

20. Edipeon - seq.20 (01:49) ****

21. Edipeon - seq.21 (02:37) *****

22. Edipeon - seq.22 (01:24) ****

23. Edipeon - seq.23 (01:04) ****

24. Edipeon - seq.24 (01:42) ****

25. Edipeon - seq.25 (01:58) *****

26. Edipeon - seq.26 Finale (01:32) *****

Spaghetti and cowboys: part 7

Title: Navajo Joe

Year: 1966

Composer: Ennio Morricone

Inspired by the extreme heat we’ve been having currently in Finland, which has turned the area surrounding my apartment into a near wasteland, I decided to revisit some Western scores. Among them was also Navajo Joe, which is one of the most brutal musical creations for the entire genre.

The album opens with haunting screams of I cantori moderni choir highlighting the voice of one Gianna Spagnulo who creates simultaneously Native American yet jazzy qualities with her performance. The main theme begins with a simple guitar riff which is afterwards heard constantly during the score’s suspense tracks. After a while an array of percussion instruments bang away and the choir starts shouting the name of the titular hero. It’s bizarre to say the least but immensely satisfying. The road to Esperanza starts with a more plain arrangement for the choir and solo percussion with an abstract, short interlude but eventually turns into a hopeful rendition including the unmistakable voice of Edda dell’Orso. Sweet lullaby-like renditions of A dollar a head and Joe’s departure offer some relaxing atmospheres; a musical oasis in the middle of the overall madness. Both orchestral and choral forces are once again released in Ride into town, probably the greatest main theme statement apart from the titles. Joe and his woman offer peaceful orchestral bliss with slight touches from the choir while From Esperanza is another massive orchestral tour-de-force with stunning vocal performances.

Besides the main theme, the album is built around moments of suspense and some source music style pieces. A silhouette of doom starts with the main theme riff on piano which makes way to staccato beats and brutal string and woodwind harmonies clashing with the wailing voice. This music returns later in devastatingly savage fashion in Torture which is the most difficult track to enjoy. Train massacre and Fear and silence offer two different suspense devices, the first concentrating on main theme variations while the other resembles a sneaking-around cue heard in nearly every Morricone Western. You know, the one with solo percussion over only a minimal support from other instruments. While effective in the film, not that much on its own.

The lighter side of the score is heard in The Peyote saloon, a happy duet for piano and strummed banjo. An Indian story is a beautiful, sparse piece which highlights a solitary female voice and an ethnic bass flute. The two harmonica cues are also beautiful in their understated play around the main theme. The following The Navajo escapes is a mournful, dark piece for solo strings which Morricone does so well. While the score is mostly monothematic there is another theme introduced rather late in The demise of father Rattigan with a glorious arrangement for strings, woodwinds and guitar arpeggios. Another version of this tune actually ends the film with a victorious hymn to the fallen called After the end concluding into the majestic vocal performance by Spagnulo. The bonus tracks include Raw hides and dead hides, a piece with sad solo harmonica alternating between raving vocals and percussion, and reprises of the suspense devices. The final two cues contain marvellous main theme and vocal performances and last sendoff provided by the ‘demise’ theme.

Navajo Joe might have the best usage of choir within the whole discography of the composer. Besides that, it is an entertaining album that stands firmly amid the other more well-known scores of the genre. Though some may find it repetitive, its boisterous attitude manages to win over any listener if he can just get over the shocking opening bars.

Rating: *****

Tracklist:

1. Navajo Joe (Main title) (02:50) *****

2. A silhouette of doom (02:54) ****

3. Duncan's plan (00:31) ***

4. The Peyote saloon (02:32) ***

5. Wiping out the town (00:41) ****

6. The road to Esperanza (Main title - Navajo Joe) (01:54) *****

7. The engineer's harmonica (00:09) **

8. Duncan's wild bunch (Goodbye to Brother Jeffrey) (00:27) *****

9. Train massacre (00:42) *****

10. Fear and silence (01:49) **

11. A dollar a head (02:20) *****

12. Joe's departure (End title - Navajo Joe) (02:14) *****

13. An Indian story (Healing the wound) (02:01) *****

14. Ride into town (01:49) *****

15. But Joe say no (01:20) ****

16. To intermission (00:38) *****

17. Torture (The bandit gets the train) (02:01) *****

18. Navajo harmonica, pt. 1 (00:40) *****

19. Navajo harmonica, pt. 2 (00:48) *****

20. The Navajo escapes (01:38) *****

21. A bad childhood (00:26) *****

22. Joe and his woman (01:07) *****

23. The horses set free (00:48) ****

24. The demise of father Rattigan (The demise of Barbara) (02:56) *****

25. From Esperanza (To Esperanza) (01:47) *****

26. Over the mountain (01:13) *****

27. The search for Joe (01:05) ****

28. The confrontation / The return of Joe (01:53) *****

29. After the end (02:16) *****

Bonus tracks:

30. Main title (Film version) (03:01) *****

31. Raw hides and dead hides (01:20) *****

32. Fear and silence (01:49) ***

33. The Navajo's a prisoner (01:40) ****

34. Navajo Joe medley (02:06) *****

35. Sadness (00:33) *****

WTF (part 7) and Giallo fever (part 11)

Title: L’ingenua (The naive)

Year: 1975

Composer: Carlo Savina

Sexy comedies with some softcore nudity were their own genre in Italy in the 70s, including L’ingenua from 1975. There is a plot about conmen trying to sell a villa but the real reason for the film were the views, both the beautiful scenery but mostly the nudity of one Ilona Staller, aka Cicciolina, a famous Italian sex-object. Strangely a film like this also got an original score which was made by none-other than Carlo Savina, already a prolific film composer at the time. And the result is actually a pleasant surprise, not just some background porn music.

Because the score is so short, around just 25 minutes, Savina made a clever choice to build it around one unifying theme heard in Seq. 1. It opens however with a sighing female voice, which is a corny touch and sadly disappears for the rest of the score. The theme is then heard in waltz meter on the Mediterranean accordion and whistling which gives it the comedic edge before modulating into a wondrous little crescendo. Lovely stuff indeed. It is followed by straight-up comedy honky-tonk which after a pause turns into a fine version of the main theme never straying far from the comedy. A more laid-back poolside source version is heard in Seq. 3 but Seq. 4 returns to the comedy with music suitable for a funny chase sequence and later more anonymous background music. Seq. 6 and 11 include folk-music like accordion waltz which isn’t terribly original but does it job. Bluesy radio source with walking bass is featured in Seq. 7 preceding a cheeky main theme statement of Seq. 8 which has slight hints of doubt with the underlying orchestrations.

A beautiful saxophone solo opens Seq. 10 before the comedy motif of Seq. 2 returns somewhat ruining the otherwise fine atmosphere. The most ‘suspenseful’ moment of the score is heard in Seq. 12’s beginning but then it dissolves into a mixture of both the main theme and an actually interesting variation of the comedy motif with odd tinkling sound-effects and organ bleeps. The last cue returns to the lovely wonder of the opening with sweet orchestrations and floating accordion solo.

The score for the film is a very light one and doesn’t feature any real drama. If you’re looking for an easy-listening to play in the background, this certainly does the job but never reaches the heights Savina is capable off. But on the whole we have to be glad that this project even exists and we are able to hear it after over 4 decades.

Rating: ***

Title: L’osceno desiderio (Obscene desire)

Year: 1978

Composer: Carlo Savina

As an odd choice, the second feature on this album is actually from a giallo/horror film about an American tourist who gets impregnated while on a holiday. Inspired clearly by The omen and Rosemary’s baby, the child is actually the antichrist. Savina’s score is actually similar to one featured in those films, since it includes both beautiful passages that lull you into a fall sense of security and then releases frightening scenarios in the tension-filled cues.

The film’s sad main theme opens Seq. 1 with a plain piano solo which later expands to woodwinds and solo viola. Savina’s scores generally are more built around motifs than long-lined themes. However this time the melody is really developed and tear-jerkingly beautiful, and perhaps one of the composer’s very finest. The orchestration for this score is quite sparse which makes all the instruments pop out thus making the listener feel each performer’s unique way of playing. The first few reprises are full of hope and filled with the bliss of a tragic romance. Both Seq. 3 and 4 include passages in major key and variate the melody into clever chord progressions that change the overall mood momentarily into a light autumn breeze. The last shades of almost childlike innocence are heard in Seq. 6 which once again continues to the tragic pattern that is incredibly beautiful with its sadness. From thereon the theme continues to get shades of darkness with every reprise. Seq. 8 combines it with clashing pianos, keyboards and even snippets of the devil’s viola, and the style gets even more broken and crooked in the following cue. After many horrific cues there is a surprising sequence, Seq. 17, which is a romantic new theme that has dramatic piano flourishes and even major key sections. That new melody is also heard in the finale cue which isn’t the romantic conclusion I was hoping for because there are still shades of darkness left, perhaps signaling that the evil wasn’t defeated.

The horror begins already in Seq. 2 with devilish viola solo, another classic way to resemble the devil through Western classical music. The base is reprised without the viola in Seq 7. The mood of these cues is later developed into an actual horror motif which is the score’s secondary theme. Seq. 10 has interesting keyboard effects that are actually quite fun in a twisted way. The first version of that secondary theme is also heard during its final moments. Seq. 11 has music that sounds like someone creeping around empty rooms at night. Seq. 12 begins with terrifying variations of the main theme which make way to another sparse creeping around cue that is actually quite frightening to listen to by yourself. Seq. 13 is the first cue built entirely around the secondary theme. It isn’t as effective as the previous horror music but functional for sure and it even includes some humming choral voices that create a ghostly atmosphere. There are also otherworldly electronic enhancements in the following cue which are actually quite unsettling. The closest the music comes to releasing the tension is at the end of Seq. 18 where the music speeds up and swells into its climax.

L’osceno desiderio has beautiful, exquisitely orchestrated music during its first half which then turns into sour, slow-burning tension during the second half that barely lets the listener have a moment to breathe. Unfortunately the beginning is so strong that the suspense music, which is built around repeating loops and short phrases, just falls flat at certain points. At times though it manages to get under my skin and makes me check over the shoulder for intruders. Nevertheless it’s clearly the better score of the album and just barely misses a perfect rating.

Rating: ****1/2

Tracklist:

1. L'ingenua (Seq. 1) (02:10) *****

2. L'ingenua (Seq. 2) (02:24) ****

3. L'ingenua (Seq. 3) (01:37) ****

4. L'ingenua (Seq. 4) (02:06) ***

5. L'ingenua (Seq. 5) (01:22) ***

6. L'ingenua (Seq. 6) (01:39) ***

7. L'ingenua (Seq. 7) (01:17) ***

8. L'ingenua (Seq. 8) (01:48) ****

9. L'ingenua (Seq. 9) (01:58) ***

10. L'ingenua (Seq. 10) (02:04) ***

11. L'ingenua (Seq. 11) (01:48) ***

12. L'ingenua (Seq. 12) (02:32) ****

13. L'ingenua (Seq. 13) (01:11) *****

14. L'osceno desiderio (Seq. 1) (01:52) *****

15. L'osceno desiderio (Seq. 2) (01:26) *****

16. L'osceno desiderio (Seq. 3) (02:24) *****

17. L'osceno desiderio (Seq. 4) (02:56) *****

18. L'osceno desiderio (Seq. 5) (01:19) *****

19. L'osceno desiderio (Seq. 6) (02:06) *****

20. L'osceno desiderio (Seq. 7) (01:26) ***

21. L'osceno desiderio (Seq. 8) (02:31) *****

22. L'osceno desiderio (Seq. 9) (01:49) *****

23. L'osceno desiderio (Seq. 10) (02:28) ****

24. L'osceno desiderio (Seq. 11) (01:37) ****

25. L'osceno desiderio (Seq. 12) (03:00) *****

26. L'osceno desiderio (Seq. 13) (02:00) *****

27. L'osceno desiderio (Seq. 14) (03:24) ***

28. L'osceno desiderio (Seq. 15) (02:26) ****

29. L'osceno desiderio (Seq. 16) (02:01) ***

30. L'osceno desiderio (Seq. 17) (03:42) *****

31. L'osceno desiderio (Seq. 18) (01:53) ****

32. L'osceno desiderio (Seq. 19) (02:30) *****

Love and other drugs: part 3

Title: L’attico (The attic)

Year: 1962

Composer: Piero Piccioni

L’attico is a story about a naïve girl who wants to make it big in the city working as a model and living in a penthouse facing the Colosseum. While fulfilling her dream she also dates several suitors. Piero Piccioni’s score is almost pure jazz, based around two alternating main themes which are the building blocks to almost every single cue on this 70-minute album.

And luckily Piccioni really delivers a home run with the opening theme, which is the most prevalent melody heard throughout the score. L’attico is a lively piece of smooth, falling-rising lines which move from solo instrument to another and allow the performers’ improvisational skills shine. The orchestration here also differs from standard jazz band ensembles, including for instance a vibraphone and harpsichord which give the music otherworldly, slightly off-kilter edge. Usually Piccioni’s melodies tend to take their time to arouse the listener’s interest. In the case of L’attico I was hooked from the first note and I must admit that this might be my all-time favourite Piero Piccioni tune. Fortunately for me (and hopefully other listeners too) the score is basically a theme-and-variations type of score, like e.g. Maestro Morricone’s La cosa buffa, both of which twist and turn their core material into all the possible shapes.

Attico per organo changes the melody into an improvisatory keyboard solo in a slower pace which is just lovely yet simultaneously odd. A nightly, slow jazz orchestra version of track 11 is not as engaging as the faster versions but beautiful nevertheless. After a straightforward reprise, track 13 turns into a hallucinatory duet for abstract organ chords and solo vibraphone. Next reprises are dominated by sultry saxophones before a straightforward church organ version appears in track 20 representing the other end of the spectrum of uses Piccioni has for the melody. It’s followed by a dramatic, Baroque-inspired harpsichord variation of the melody that is just another stroke of brilliance. Track 29 combines the harpsichord and organ into a duet of nearly religious proportions that is ruined when a more mischievous variation appears after a dissonant surge.

The second melody, called simply Ancora is a more mournful tune, whose long lines allow usually a passionate solo instrument to take the centre stage over more laid-back accompaniment. This melody clearly represents the nocturnal, lonely city streets and perhaps also the hardships our protagonist might encounter in the city. In its first incarnation the melody is played first by a trumpet and then saxophone, while in track 9 the roles are switched. The trailer version of track 14 features the melody on flutes and keyboards while the beat is more danceable than previously.

To add some variety, Piccioni wrote also some other pieces of music to expand the musical universe of the film. Afro starts with slow Latin rhythms which are then joined by playful woodwinds and organ notes, but in its 1^st reprise we only get some odd percussion effects and someone blowing into a glass bottle. Afrodite is a poolside source cue for flute soloist and light percussion, whereas Chicago style is a fun, but all-too-brief nightclub ragtime number for tinkling piano and percussion work resembling tap dancing. Its reprise sounds like the saloon piano playing the tune has been detuned and slightly broken. Track 12 includes fast, big city jazz that might have something to do with the main theme but at the level that escapes this listener. A change in pace is also Marcetta which is a comedic march tune interrupted by constant, dream-like space-effects in the background. Lastly there is Piano source, a sad minor-key tune for solo piano written in the best romantic music traditions but strangely it ends with a thump representing the pianist’s frustration.

The listener’s enjoyment of the score depends largely on whether or not he likes the main theme, because that theme is nearly everywhere. I happen to love that melody and hence giving a rating for the score is relatively easy. After a trim, there is nevertheless a large amount of well-composed, jazzy film music for others. The warmth of the music is exceptional and I really can’t remember another Piccioni score that has given me an emotional rollercoaster ride like this one.

Rating: *****

Tracklist:

1. L'attico (02:16) *****

2. Afro (03:11) *****

3. Afrodite (02:08) ****

4. Ancora (03:14) *****

5. Attico per organo (02:18) *****

6. Chicago style (01:01) *****

7. L'attico (01:58) *****

8. Afro (02:41) **

9. Ancora (03:10) *****

10. Chicago style (01:30) ****

11. L'attico (grand orchestra) (02:37) ****

12. L'attico (02:04) ****

13. L'attico (01:56) *****

14. Ancora (trailer) (03:01) ****

15. Attico per organo (01:58) ***

16. L'attico (01:17) *****

17. L'attico (marcetta) (01:36) ***

18. L'attico (02:04) *****

19. Ancora (01:54) ****

20. Attico per organo (01:32) *****

21. L'attico (02:03) *****

22. Attico per organo (01:20) *****

23. Ancora (02:56) *****

24. Afro (01:11) ****

25. L'attico (02:02) *****

26. Chicago style (fast) (01:56) *****

27. L'attico (piano source) (01:31) *****

28. L'attico (01:11) ****

29. L'attico (01:34) *****

30. Ancora (trailer take 2) (02:21) *****

31. Attico per organo (01:28) *****

32. L'attico (01:09) ****

33. L'attico (01:17) ****

34. L'attico (01:47) *****

35. L'attico (grand orchestra) (02:50) ****

Spaghetti and cowboys: part 6

Title: È tornato Sabata… hai chiuso un’altra volta (Return of Sabata)

Year: 1971

Composer: Marcello Giombini

For the last film in the Sabata trilogy, the actor playing the main character made his return along with the first film’s composer, Marcello Giombini. He didn’t reprise any of the thematic material of the first, rather than crafted a whole new score that was clearly more tongue-in-cheek and self-aware.

The more light-hearted tone is prevalent right from the opening theme song with hilarious scat ‘pom-pom’ censorship in its lyrics. Also the hand-claps and the macho delivery of the vocals combined to the powerful choral harmonies are a recipe for a fun cue. This theme song is the backbone once again for the rest of the score. It’s heard in the following Seq. 2 after a brief fast-paced action moment, played by a harpsichord and marimba in a comedic way. A jazzy flute, surf guitar and choir variate the melody in Seq.6 and 11 whereas Seq. 9 is just the rhythmic section playing the ‘pom-pom’ rhythm followed by a solo voice of Alessandro Alessandroni reciting the song lyrics. Finale is the reprise of the theme song strangely played twice in a row without noticeable variation, which is a slightly disappointing end to the score.

Giombini’s music explores many different genres throughout its duration and jumps between moods constantly. However the music never gets distracting since everything seems to be a part of a larger painting. The saloon piano returns of course in a cheery way in Seq. 3, 16, and in Seq. 13 it plays one of the film’s secondary themes. That love theme is heard fully in Seq.5 which is a violin-banjo duet in waltz tempo, a pretty little tune. The choral voices are utilized better here than in the preceding scores, for instance Seq. 4 has hissing and whispering voices shouting the name “Sabata”, and in Seq. 14 they offer a short snippet of church choir realness. The Gothic organ returns in Seq. 7 and it’s even more furious and judgmental than in the first film. In the following cue the organ is combined to tribal drum rhythms and shouting choral voices in an entertaining, over-the-top manner.

The suspenseful aspects of the story are introduced in Seq. 10 with echoing flute effects which resolve to bass clarinets and tremolo strings. In the middle of Seq. 11 a secondary, cool, jazzy electric guitar theme is heard for the first time and after a banjo interlude it returns in a full, menacing fashion combined to choral voices. The fullest statement of this idea is Seq. 12 which starts with marimbas, then introduces the melody with strings and keyboards and later turns into a psychedelic moment of terror for jazz flute, choir and the guitar. It’s probably my favourite cue in the whole score. Variations of the guitar theme are combined to tribal ‘pom-pom’ rhythms, comedic main theme statements and abstract bass clarinet tunes in Seq. 15. The score concludes to Seq. 17 which starts with a pastiche of Händel’s Hallelujah-choir before some suspense moments for percussion and Jew’s harp, and finally some jazzy reprises of the guitar theme.

The score for the last film may not be as polished as the one by Nicolai but I had the most fun with this one compared to all the others. It is cheesy for sure, but made me crack a smile several times during the album so it has to be doing something right. The constant surprises of different styles and inventive orchestrations combined to a killer secondary theme make this my favourite of the three Sabata scores.

Rating: ****

Tracklist:

1. È tornato Sabata... hai chiuso un'altra volta (Titoli - Seq. 1) (02:12) *****

2. È tornato Sabata... hai chiuso un'altra volta (Seq. 2) (02:10) ****

3. È tornato Sabata... hai chiuso un'altra volta (Seq. 3) (01:22) ****

4. È tornato Sabata... hai chiuso un'altra volta (Seq. 4) (01:25) *****

5. È tornato Sabata... hai chiuso un'altra volta (Seq. 5) (02:37) ****

6. È tornato Sabata... hai chiuso un'altra volta (Seq. 6) (01:25) ****

7. È tornato Sabata... hai chiuso un'altra volta (Seq. 7) (02:14) *****

8. È tornato Sabata... hai chiuso un'altra volta (Seq. 8) (01:12) *****

9. È tornato Sabata... hai chiuso un'altra volta (Seq. 9) (01:59) ****

10. È tornato Sabata... hai chiuso un'altra volta (Seq. 10) (01:29) ****

11. È tornato Sabata... hai chiuso un'altra volta (Seq. 11) (03:50) ****

12. È tornato Sabata... hai chiuso un'altra volta (Seq. 12) (02:44) *****

13. È tornato Sabata... hai chiuso un'altra volta (Seq. 13) (02:36) *****

14. È tornato Sabata... hai chiuso un'altra volta (Seq. 14) (00:54) ****

15. È tornato Sabata... hai chiuso un'altra volta (Seq. 15) (02:06) *****

16. È tornato Sabata... hai chiuso un'altra volta (Seq. 16) (02:26) ****

17. È tornato Sabata... hai chiuso un'altra volta (Seq. 17) (03:59) *****

18. È tornato Sabata... hai chiuso un'altra volta (Finale - Seq. 18) (04:23) ****