TRINITY GOES EAST.

 

 

 

R-150-3633503-1338200136-3868Back in the 1970s, Italian film maker Italo Zingarelli and director Enzo Barboni, or E.B.Clucher as he was known on film credits, got together and filmed the first in a series of comedy westerns involving Trinity and his brother Bambino. At first many thought that the idea of combining the Italian western with comedy was a little risky, but after a while the film spawned a sequel and then a third movie appeared assuring the series a place in cinematic history. Maybe not the greatest of movies, but certainly popular, the irreverent Trinity sagas also contained some pretty distinctive sounding musical scores. Composer Franco Micalizzi scored the first in the series, My Name Is Trinity, and then on They Still Call Me Trinity composing duties fell to Italian musician composers Guido and Maurizio De Angelis. The initial trilogy of movies, themselves were the forerunners to numerous offspring which, although not set in the wild west, were also vehicles for actors Bud Spencer and Terrence Hill, who continued to get into various scrapes and adventures. Most of these films were scored by the aforementioned brothers De Angelis. The third Trinity movie had new stars and production team, and a slightly better script, but there again that would not be that difficult. The musical honours on this occasion have gone to composer performer Alessandro Alessandroni, who interestingly performed on the very first Trinity score, as it was he who whistled for composers Franco Micalizzi, and it was also Alessandro,s choir Il Cantori Moderni that provided the vocalising on the score, as they did on numerous spaghetti western soundtracks from the early 1960s through to the latter part of the 1970s.

Alessandroni has provided a typical spaghetti western score for Trinity Goes East, and has very cleverly re-created the “sound” that we associate with that particular genre. It is literally teeming with the wonderful and original sounds of bygone western scores, whistles, solo electric guitar, banjo, grunts, choir, racing snare drums, solo trumpet, patriotic sounding Spanish guitar, jaunty saloon piano, harmonica and harpsichord are all prominent throughout the work. So it not only acts as a perfect tribute to the Italian western score, but is itself an original and gratifying listening experience, many collector who are familiar with the music of Morricone, Nicolai, De Masi and many other composers who worked on Italian productions during the 1960s and 1970s will already be familiar with Maestro Alessandroni, because it was Alessandroni and his choir that provided the distinct an unforgettable sound on so many scores for westerns and others. For anyone who may not be familiar with the composer, please do buy this CD, and I am sure that you will be wanting more of the same. Sound quality is exceptionally good, and the CD is also presented well.

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