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) ****

Spaghetti and cowboys: part 5

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) ****

Spaghetti and cowboys: part 4

Title: Ehi amico… c’è Sabata, hai chiuso! (Sabata)

Year: 1969

Composer: Marcello Giombini

Along with The man with no name, Django, Ringo etc there was another lone gunman appearing in Spaghetti Western films at the turn of 1960s-70s, Sabata. This antihero was portrayed by two different actors in the three films he appeared and originally had another name in the ‘sequel’ before it turned into a Sabata picture during production. Quartet records released all the scores together on a 3 CD box set.

The first score is by Marcello Giombini who was a prevalent composer of especially Spaghetti Western films but sometimes ventured to other genres as well. His work for Sabata is probably his most well-known work and no wonder: the main theme is very catchy and sticks with you after just a few listens. The opening Titoli opens with the swirling strings associated with the film’s antagonist before the main theme appears first played by an electric guitar and then a forceful brass section. The descending tune has some mariachi qualities to it and a riding gallop beat underneath. The first reprise arrives in Verso Los Saloe and eventually it variates into a major key version of the tune. Vocal includes spoken word by Alessandro Alessandroni and his choir members repeating the film’s title. Though cheesy, you can’t deny its entertainment value. The album ends with a few full reprises of the tune which unfortunately get too repetitive after hearing the melody already throughout the whole score. The last cue however is a surprising one, the theme sung fully in German meant for the international distribution of the film.

The antagonist of the story is called Stengel and his theme is heard in a brilliant way in track 3. Its foundation is built around swirling strings and victorious chord progressions. The melody itself probably the best one within the score and resembles those glorious solo trumpet moments from Morricone’s Western scores. For the sidekick Banjo, the main instrument is clear. The banjos are however more in the background in track 7 and the actual melody is played by woodwinds and strings with a slight nautical feel for some odd reason. Auira Banjo mixes his theme for a solo banjo with hints to the Stengel material but finally turns them into emotional orchestral glory. The theme had also a single version, track 18 which combines strangely material from tracks 7, 13 and 10.

For moments that don’t play around the main themes, Giombini provided an array of moods. L’attesa is a slow funeral elegy which isn’t terribly interesting unfortunately while Saloon is a source piano piece. Morte di Stengel opens with effective, quiet suspense material for inventive orchestrations eventually reprising the main theme in disguise. L’agguato is a tense orchestral stinger which doesn’t offer anything new but is a fine composition nonetheless. It however isn’t anything compared to the most over-the-top drama moment of the score, La vendetta for a thunderous, Gothic church organ playing in Baroque fashion backed by the orchestra.

The score concludes with three nicely assembled suites, first of which begins with tense Stengel material and changes into a more action orientated variation of his theme and then into a suspense variation. Later the melody is mixed together with several major key versions of the main theme that are the foundation for the rest of the suite. Suite 2 opens with all the three main identities before a short yet beautiful love theme for solo viola is heard, which then moves to new main theme variations for varying orchestration. The last suite is once again all about the main theme: first harpsichord playing it with a slightly comedic edge, then some alto flute, marimbas and eventually back to soothing harpsichord notes.

The main theme, no matter how catchy, is perhaps too plentiful and that is the biggest complaint I have with Sabata. Luckily the orchestration varies and almost none of the reprises sound the same. I would have loved to have more of the other themes which now get buried under the excessive main theme statements. Nevertheless it’s a fine Spaghetti Western score and will surely please the fans of the genre.

Rating: ****

Tracklist:

1. Ehi amico... c’e’ Sabata, hai chiuso! (Titoli) (01:52) *****

2. Ehi amico... c’e’ Sabata, hai chiuso! (L’attesa) (02:00) ***

3. Ehi amico... c’e’ Sabata, hai chiuso! (Nel covo di Sengel) (03:08) *****

4. Ehi amico... c’e’ Sabata, hai chiuso! (Verso Los Saloe) (01:37) ****

5. Ehi amico... c’e’ Sabata, hai chiuso! (Saloon) (01:42) ***

6. Ehi amico... c’e’ Sabata, hai chiuso! (Desolazione) (01:17) **

7. Ehi amico... c’e’ Sabata, hai chiuso! (Banjo) (01:09) *****

8. Ehi amico... c’e’ Sabata, hai chiuso! (Vocal) (02:43) ****

9. Ehi amico... c’e’ Sabata, hai chiuso! (Morte di Stengel) (02:42) ****

10. Ehi amico... c’e’ Sabata, hai chiuso! (Auira Banjo) (02:37) *****

11. Ehi amico... c’e’ Sabata, hai chiuso! (L’agguato) (01:05) ****

12. Ehi amico... c’e’ Sabata, hai chiuso! (Saloon 2) (01:55) ***

13. Ehi amico... c’e’ Sabata, hai chiuso! (La vendetta) (02:43) *****

14. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 1) (07:26) ****

15. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 2) (04:02) ****

16. Ehi amico... c’e’ Sabata, hai chiuso! (Suite 3) (04:53) ****

17. Ehi amico... c’e’ Sabata, hai chiuso! (Banjo - single version) (02:30) ****

18. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 1) (01:50) ****

19. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 2) (02:38) ***

20. Ehi amico... c’e’ Sabata, hai chiuso! (Alternate take 3) (01:51) ****

21. Ehi amico... c’e’ Sabata, hai chiuso! (Vocal - in tedesco) (02:36) ****

Exotic flavours: part 6

Title: Ming, ragazzi! (Mr. Hercules against karate)

Year: 1973

Composer: Carlo Savina

In the 70s a number of comedy-crossover films were made also in Italy. Ming, ragazzi! belongs into this category. The story takes a Bud Spencer-Terence Hill -like duo to Hong Kong where they have to rescue a son of a Chinese restaurant owner held hostage by a local karate school. The composer for the project was a bit unexpected, Carlo Savina, who I associate more with dramas or historical epics for which he offered soundscapes more suitable for a concert hall than film score. This is easily one of the lightest and most ‘easy-listening’ his work ever got but still provides some interesting textures and musical devices.

In a typical Savina fashion, the score is pretty monothematic. The main theme heard in Titoli is a longlined tune with that 70s glitz but with some hints to the oriental melodies in its opening phrase. The theme goes through the full orchestral glamour phase and then moves to a more comedic section with car honks. Seq. 3 is a longer reprise of the theme’s different sections which are all over the place, sometimes comedic marches, sometimes sentimental elegies and finally more in the style of 70s ‘travel music’ with glorious string flourishes. A fun, fast beat style version of Seq. 4 is perfect for a comedic fight sequence and it even ends with some oriental terror. Full ballroom muzak version Seq. 5 is a complete departure from the comedy and surprisingly well-composed for such a silly comedy film. More straightforward comedy returns in Seq. 14 after a musical saw and organ glissandi. Finale is another collage of styles from restaurant tunes to menace eventually growing into a joyous, orchestral crescendo.

The oriental aspects of the score are quite stereotypical. They start to appear prominently from Seq.6 onwards with pizzicato strings accompanying the main theme. Seq. 7 has woodwind and organ effects with pentatonic progressions over a steady, menacing bassline. Slower, sinister progression opens Seq. 9 which then turns into the score’s biggest action cue with stabbing, irregular string rhythms reminiscent of Stravinsky’s Rite of spring. The ominous harpsichord and gong are bouncing between twisted and comedic main theme variations in Seq. 12 offering a fine contrast between the two styles but perhaps being slightly too distracting.

Besides these two, there are other kinds of musical styles presented as well. Seq. 2 is a laid-back beat tune that ends with organ effects straight from a Savina horror project. There are also some muzak tunes for lobbies or a restaurant setting. Seq. 8 is an instrumental for a solo clarinet but there are also two vocal cues sung in English. The first one, Seq. 10, is a cheesy love song for an unnamed male voice for a background listening but midway it changes into a fast-paced samba before reprising the previous styles in an instrumental version. The better song for a female voice (again unnamed) of Seq. 12 begins with a long instrumental introduction that then abruptly turns into a breezy bossa arrangement for the vocals.

Ming, ragazzi! is perhaps the most easily accessible Carlo Savina score I’ve heard but its ever-changing, ‘mickey-mousing’ nature prevents me from fully embracing it. It perhaps diverts too far from the composer’s usual unique style and hence becomes more anonymous and plain in comparison to his other work.

Rating: ***1/2

Tracklist:

1. Ming, ragazzi! (Seq. 1 - Titoli) (02:25) ****

2. Ming, ragazzi! (Seq. 2) (01:35) ***

3. Ming, ragazzi! (Seq. 3) (04:52) ****

4. Ming, ragazzi! (Seq. 4) (02:39) ****

5. Ming, ragazzi! (Seq. 5) (02:38) *****

6. Ming, ragazzi! (Seq. 6) (01:28) ****

7. Ming, ragazzi! (Seq. 7) (01:56) ***

8. Ming, ragazzi! (Seq. 8) (02:15) ***

9. Ming, ragazzi! (Seq. 9) (03:23) ****

10. Ming, ragazzi! (Seq. 10) (05:50) ***

11. Ming, ragazzi! (Seq. 11) (01:41) ****

12. Ming, ragazzi! (Seq. 12) (04:54) ****

13. Ming, ragazzi! (Seq. 13) (04:57) ****

14. Ming, ragazzi! (Seq. 14) (01:16) ***

15. Ming, ragazzi! (Seq. 15) (01:33) ***

16. Ming, ragazzi! (Seq. 16 - Finale) (02:12) ****

Exotic flavours: part 5

Title: The boy & the lion

Year: 2013

Composer: Stelvio Cipriani

Another Italian film music maestro still working today is Stelvio Cipriani. Unfortunately his current projects are very hard to find any information about, including the score we’re listening today: The boy & the lion from 2013. Apparently it is a TV production, and based on the track titles it tells a story about a friendship between a lion and a child. The music really doesn’t represent the wide fields of Africa but rather offers romantic fluff typical for the composer. The instrumentation includes an array of 90s synth elements including percussion, guitars and panpipes which hark back to a long gone nostalgic era. A small string section is also included which provides perhaps the most emotionally moving performances on the album.

The weirdly arranged album begins with 14 variations of the main theme. Usually this would be a tiresome way to start off but luckily the varied arrangements are quite lovely. The theme itself follows basic Cipriani harmonic structure but in the age of lackluster modern film music it is a true delight to hear. Some of the arrangements stand out more than others. The opening moves the melody nicely from instrument to instrument: panpipes to strings, synth oboe to tinkling harpsichord and so on while a cheesy drum beat rolls on underneath. Version 3 includes staccato lines from the strings which flourish along with a sweet solo piano while Version 6 is a more straightforward romantic string and piano duet with beautiful underlying harpsichord ostinato. Version 8 includes a new emotional prelude which then leads to a full, mournful performance of the theme. The problem I have with the string versions is that they sound just like demo recordings of the string sections used in the preceding cues and hence don’t work as well on their own because you’ve already heard how the experience is heightened with the use of solo instruments.

The main theme doesn’t fully disappear after those 14 cues but is featured later in Innocent joy which is a more mature version of Version 8 because the main theme sounds much older here when played by the low strings. Goodbye my friend is a full version of the main theme prelude with tinkling, warm synth textures which later reprise the theme as well as the ostinato. The beginning of the finale Across the land sounds pretty dated with its pop-sensibilities. However a surprise addition of a solo (non-synthetic!) saxophone appears out of nowhere and turns the track into something similar of Jerry Goldsmith’s The Russia house. While not as great as that score, it is certainly a powerful yet cheesy end to the album.

The second theme is called Lion’s waltz, a major key melody which is quite childlike and innocent with its cute synth elements. It’s a charming little tune but not as successful as the main theme. The same melody is turned into Animal’s march which is probably the most cheap-sounding cue of the score with horrendous synth drumkit and keyboard sounds straight out of a 90s children’s TV show. Running is one of the more serious cues on the album starting with the main theme ostinato but then developing into a nostalgic new tune based on the chord structures of both the previous themes. The end of the cue continues straight to Playing in the sun which is another innocent, summery waltz track. The two Jungle life cues are first real attempts of something exotic and wild with groovy basslines, tribal yet synthetic percussion and ghostly panpipes in the first version. The second one has only the percussion track and some soft synth pads which carry on tediously for 5 straight minutes. Eventually there are also some suspense cues like Fear in the jungle which quotes the main theme briefly but then turns into a synth pad stinger and Hiding in the jungle with more tribal percussion.

The boy & the lion is a nostalgic trip through 70s melodies and 90s TV score arrangements, an obscure combination with little to no relevance to the assumed subject matter. Nevertheless I hope Cipriani keeps making this kind of music since his own unique voice still shines through after decades of marvellous scores. For a better listening experience I would rearrange the cues and perhaps cut some of the purely string versions which aren’t as good as the ones with finalized orchestrations.

Rating: ****

Tracklist:

1. The boy & the lion (02:58) ****

2. The boy & the lion (Alternative version 1) (01:19) ****

3. The boy & the lion (Alternative version 2) (01:19) ***

4. The boy & the lion (Alternative version 3) (01:08) *****

5. The boy & the lion (Alternative version 4) (01:09) *****

6. The boy & the lion (Alternative version 5) (01:37) ***

7. The boy & the lion (Alternative version 6) (01:20) *****

8. The boy & the lion (Alternative version 7) (01:20) ****

9. The boy & the lion (Alternative version 8) (02:51) *****

10. The boy & the lion (Strings version 1) (01:08) ****

11. The boy & the lion (Strings version 2) (01:20) ****

12. The boy & the lion (Strings version 3) (02:55) ****

13. The boy & the lion (Strings version 4) (02:51) ***

14. The boy & the lion (Piano version) (01:19) ****

15. Lion's waltz (01:43) ****

16. Lion's waltz (Alternative version 1) (00:44) ***

17. Lion's waltz (Alternative version 2) (00:44) ****

18. Lion's waltz (Strings version) (01:43) ****

19. Running (02:04) *****

20. Running (Alternative version) (02:03) ****

21. Playing in the sun (01:11) ****

22. Playing in the sun (Alternative version) (01:10)  ***

23. Jungle life (05:03) ****

24. Jungle life (Alternative version) (05:02) **

25. Animal's march (01:38) ***

26. Animal's march (Alternative version) (01:38) ***

27. Innocent joy (02:54) ****

28. Fear in the jungle (01:23) ****

29. Hiding in the jungle (01:29) ***

30. Threat in the jungle (01:26) **

31. Goodbye my friend (02:05) ****

32. Across the land (03:06) *****

WTF (Weird tho' fabulous): part 6

Title: N.P. – Il segreto

Year: 1971

Composer: Nicola Piovani

Nicola Piovani is an Italian composer whose works I haven’t been liking all that much. I mean his works are fine, but perhaps too light-hearted and ‘simple’ for my taste. I purchased this Music Box records album at a sale and it is a fairly enjoyable experience with two quite different scores 10 years apart from another.

The first one, N.P. – Il segreto is a film about a dystopian future society with state control and despotic leaders. The main theme is surprisingly happy given the subject matter. It’s a version of Niccolò Paganini’s Caprice no 24 but turned into a psychedelic 70s beat track with harpsichord, surf guitars, organ and so on. It’s similar to what Morricone did with Dies irae for the film Escalation. Eventually more orchestral elements are added along with a nod to the original composer with a short solo violin passage. The final track includes a la-la choir which is just so fun that you have to start humming along. It’s the highlight of the whole album for me.

Speaking of Morricone, Strike #1 is straight out of his works for political thrillers with steady piano rhythms and weird harmonies with hints to the Paganini melody. It’s a cool little cue but pales in comparison to the brutal force perhaps needed for a political setting. Strike #2 is more aggressive arrangement of the same material and includes even some distorted electronic guitar notes to disturb the mood. Butterfly introduces two recurring melodies. First a semi-religious string melody with unexpected chord progressions, later sung by a choir in track 7 with a sweet accompaniment, the most sincere moment on the album. The second one just wanders on mournfully without that much variation and just repeats itself on and on. That same tune is reprised in Prophet by a solo accordion and viola and finally in Transformation by a marching band which gets unfortunately very tedious with the endless repetition. We return to the martial feel in Montage which begins with just the drums on top of which harpsichord lines and sharp piano notes are then played. Again, it’s more comedic in tone than suspenseful but I’m impressed how entertaining it is with so few instruments.

The score is just under 30 minutes long but even for that amount the material seems enough. Unfortunately there isn’t enough variation and most of the cues are just repeating a short tune with little changes in the orchestration. The main theme and its applications in the two Strike -cues are the highlights and the main reason for further listens.

Rating: ***1/2

Title: Il minestrone

Year: 1981

Composer: Nicola Piovani

The main theme for Il minestrone is a polar opposite in tone to N.P. – Il segreto. The film is a comedy about a group of scoundrels trying to eat for free in restaurants by committing scams. Well this time the melody is dead serious, folksy mandolin tune reminiscent of Italian rural melodies or even Italo-schlager harmonies. This juxtaposition of the subject matter and the music makes it comedic and a delight to listen to. Snippets of the main theme appear frequently for instance at the end of Promenade by a marching band, and in a very silent film like piano/harpsichord duet Food fight which just keeps the mad pacing going. Dog eat dog combines the fastening pace with the nostalgic strings and some marching band creating an entertaining moment.

Most of the album’s other melodies are in the same style as the main theme, sounding pretty much Italian traditional music, a style which Piovani does very well and I’m most familiar of him doing. However many of these melodies are more light-hearted than the actual main theme. There is straight up restaurant source music for either mandolin or viola backed by a strumming guitarist in Invisible meal, Jaunty source and Rich meal.  It’s appropriate scoring but unfortunately the cues start to run into each other and you again start to wish for some variety. A new arrangement by a Strauss-melody Die Fledermaus is written in that same restautant-like way.

Piovani also wrote his own slower Alpine, Strauss-inspired tune which is introduced in Wandering, then heard along with a lonesome trumpet playing the main theme in In the mountains and in its sweetest form in After the storm. Some straight marching band tunes are heard in Marines and eventually in Finale which is an extended treatment of the previously mentioned Alpine tune along with snippets of the main theme. A very beautiful solo piano piece Il maestro is a nice change of pace and highly moving with its simple, descending chord progressions, a clear highlight for sure.

Of the two scores, Il minestrone perhaps is the more approachable one but the material is even more monotonous. If you can’t stand Italian traditional music with emphasis on mandolin, then I advise you to stay away from this one. However I have to admit that the main theme is actually pretty infectious especially when the pace gets going.

Rating: ***1/2

Tracklist:

1. N.P. - Il segreto (Main theme) (03:36) *****

2. N.P. - Il segreto (Strike #1) (01:56) ****

3. N.P. - Il segreto (Butterfly) (03:37) ***

4. N.P. - Il segreto (Montage) (03:53) ****

5. N.P. - Il segreto (Prophet) (01:25) ***

6. N.P. - Il segreto (Strike #2) (02:31) ****

7. N.P. - Il segreto (Choir) (02:32) ****

8. N.P. - Il segreto (Transformation) (04:25) ***

9. N.P. - Il segreto (Main theme - choral) (03:38) *****

10. Il minestrone (Main theme) (03:47) *****

11. Il minestrone (Invisible meal) (02:01) ****

12. Il minestrone (Promenade - 1st version) (02:51) ****

13. Il minestrone (Food fight) (02:23) ****

14. Il minestrone (Wandering) (00:53) ***

15. Il minestrone (March) (00:59) ***

16. Il minestrone (Jaunty source) (01:09) ***

17. Il minestrone (Dog eat dog) (02:00) ****

18. Il minestrone (Rich meal) (01:32) ***

19. Il minestrone (Promenade - 2nd version) (02:34) ***

20. Il minestrone (Il maestro) (02:06) *****

21. Il minestrone (Die Fledermaus) (01:47) ***

22. Il minestrone (Marines) (02:51) ***

23. Il minestrone (In the mountains) (01:22) ****

24. Il minestrone (After the storm) (02:14) ****

25. Il minestrone (Finale) (04:21) ***

26. Il minestrone (Main theme - alternate version) (03:11) *****

CrimeWaves: part 8

Title: L’assassino (The assassin)

Year: 1961

Composer: Piero Piccioni

L’assassino was one of cult director Elio Petri’s first films. It is about a man who is incarcerated for killing his wife. For a title as flashy as this, Piero Piccioni’s score paints a whole different picture. It’s a very subdued work which probably works well underscoring the investigation scenes and nostalgic reminiscing of the past. The score for the film could easily be disgarded as mere source music. However there are clearly definable themes that appear constantly throughout the score. The small ensemble of brass, keyboards and percussion forms the core with only a handful of other additional instruments, which just adds to the nightclub like nature of the music.

Piccioni assembled a 5-track EP programme at the time of the film’s release presented as the first five cues on the album. The main theme is heard in Titoli, a darkly intriguing cue which borrows from the jazz music of the era. However there is something mysteriously seductive about the tune and sultry sax performance which lifts it above a standard restaurant source cue. Momento d’amore is the love theme which in a usual fashion for the composer doesn’t stick with you during the first few listens but when you get it memorized, you’ll realize how beautiful it truly is. That first version isn’t really memorable on the long run though but luckily there are several moments of that melody to come. A low sax chorus similar to the main theme forms Notturno but it’s more menacing with its delivery. I get some callbacks to Henry Mancini’s compositions with this cue. The most hopeful tune of the score, Attesa blues is another romantic piece highlighting mellow and jazzy, surprising chord progressions. The last cue of the EP is a chase cue with fast drumset and that crime flick sax section playing in a forceful manner along with trumpet flourishes.

A complete presentation of the score follows and it’s built around the EP material with only a few moments deviating further. Though this might create a somewhat redundant listening experience, luckily there is enough variation to keep things interesting. Notable highlights are for instance two longer versions of Attesa blues with echoy vibraphones and delightful little solos changing from an instrument to another, a harpsichord version of the love theme (tracks 13, 20 & 25) bringing to mind Piccioni’s Emily Jane’s theme from The light at the edge of the world or an extended main theme treatment of tracks 19 and 30. Those new moments I mentioned are Momento misterioso and Indagine both of which are variations of the main theme and feature avant-garde, cold, low rumbling bass and percussion which creates a creepy atmosphere for nocturnal stalking, and Atmosfera sensuale, a new variation of the Attesa blues melody for a wonderful flute solo.

L’assassino isn’t one of the most essential Piccioni scores, but it’s another fine rescue from the golden age of Italian cinema by Quartet Records. If you enjoy laid-back tunes with occasional darkness for small ensembles, this score is just up your alley.

Rating: ****

Tracklist:

1. L’assassino (Titoli) (02:44) *****

2. L’assassino (Momento d’amore) (02:57) ****

3. L’assassino (Notturno) (02:21) ***

4. L’assassino (Attesa blues) (01:39) ****

5. L’assassino (Inseguimento) (01:35) *****

6. L’assassino (Titoli slow) (01:33) *****

7. L’assassino (Inseguimento) (00:22) ****

8. L’assassino (Momento d’amore) (01:27) ****

9. L’assassino (Attesa blues) (01:41) ****

10. L’assassino (Notturno) (01:07) ***

11. L’assassino (Attesa blues) (02:23) *****

12. L’assassino (Notturno) (00:58) ***

13. L’assassino (Momento d’amore) (01:05) *****

14. L’assassino (Sospetti) (00:19) ***

15. L’assassino (Atmosfera di sogno) (00:27) ****

16. L’assassino (Momento d’amore piano solo) (02:24) ****

17. L’assassino (Inseguimento) (01:33) ****

18. L’assassino (Momento d’amore) (00:57) ****

19. L’assassino (Titoli slow) (02:59) *****

20. L’assassino (Momento d’amore) (02:34) *****

21. L’assassino (Sospetti) (00:47) ***

22. L’assassino (Momento misterioso) (02:02) *****

23. L’assassino (Indagine) (01:42) ****

24. L’assassino (Attimo sensuale) (00:17) ****

25. L’assassino (Momento d’amore) (00:56) *****

26. L’assassino (Atmosfera sensuale) (01:12) *****

27. L’assassino (Momento d’amore) (02:45) ****

28. L’assassino (Finale versione lunga) (00:45) ****

29. L’assassino (Attesa blues alt.take) (02:24) *****

30. L’assassino (Titoli slow alt.take) (02:52) *****

31. L’assassino (Finale versione corta) (00:26) ****