MORTE VESTITA DI DOLLAR. (AKA-DOG EAT DOG/WHEN STRANGERS MEET).

KG27

http://kronosrecords.com/KG27.html

Available Now, from Kronos records.

Kronos

Directed by no less than four film makers, Richard E. Cunha, Gustav Gavrin, Ray Nazzaro and Albert Zugsmith, the movie is an entertaining production and does I have to say sustain an air of drama and tension, but also has an equal amount of lighter moments along the way. Released in the UK as WHEN STRANGERS MEET which was the title of the original novel by Robert Bloomfield on which the films screenplay was based, the movie had the title DOG EAT DOG in the USA and MORTE VESTITA DI DOLLAR in Italy. The score composed and conducted by Carlo Savina is a work that includes several musical styles all of which are rich in melody and filled with drama and vitality. The score is a vibrant and energetic one, the composer combining the big band jazz sound with that of a more luxurious and stylish aura that is linked with many movies that were produced during the 1960, s. For much of its duration the soundtrack leans towards a more traditional jazz style, which is in keeping with the films storyline and the period in which it is set. He composer utilizing to great effect piano, woodwind and at times lush string interludes that are quite grandiose and opulent sounding.

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The Maestro also employs a style and sound that is very much akin to the composing style of fellow Italian composers such as Piero Umiliani, Armando Trovaioli and Gianni Ferrio to identify a few. Savina makes effective use of organ solos and introduces and integrates these performances at key points within the work, the sound and style lending much support and atmosphere to the score as well as enhancement to the scenarios unfolding on screen. The use of organ was commonplace in so many Italian soundtracks, the instrumentation adding touches of drama, melancholy and fleeting hints of the sinister, when employed. The opening cue sets the scene perfectly for what we are about to hear, it is a fast-paced swing composition for percussion and brass and although short lived makes an impact immediately. Track two, is a more elaborated version of the opening cue and contains nice muted trumpet performances as well brushed drums and classy sounding piano. Track number three, is more dramatic in its sound and style, the composer employing strings that are supported by both percussive elements and brass, that when combined create a tense and urgent sound. Other cues as CONCERTO ROMANTICO, are quite powerful and emotive, the composer employing solo piano underlined by the string section, which add a certain classical sounding persona to the score. Whereas tracks such as RITMI DI LATTA are pure jazz/swing with vibes and saxophone combining with guitar, piano, percussion, bongos, and bass to purvey a groovy sounding piece, that has an infectious pace and appeal. When listening to this and other scores by the Maestro, it becomes very clear why he was in such demand and how versatile and talented he was.

TRACK LISTING.
1.  Swing Frenetico
   2.  Stasi
3.  Concerto Romantico
4.  Ritmi Di Latta
5.  Atmosfera Torbida
6.  Suona Un Organo
7.  Morte Di Un Ladro
8.  Il Dramma
9.  Caccia Spietata
10.  Grottesco
11.  Delitto
12.  Incerto Candore
13.  Agguato ed Assassinio
14.  Atmosfera Sospesa
15.  In Giallo
16.  Ritratto Di Signora
17.  Sospensione

tracks   1-17 The Original LP Program

tracks 18-36 are previously unreleased bonus tracks, available for the first time ever!

 

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THE MUMMY (2017).

 

Tom Cruise in THE MUMMY, well not entirely sure on this, for me the jury is still out. I am used to Mummy movies from studios such as Hammer etc, so maybe the MUMMY 2017 is just too much to take. The score however is something else. We all love Jerry Goldsmiths score for THE MUMMY and, we are all just as fond of the musical scores for Mummy adventures as brought to the screen by the house of horror and studios such as Universal. So, when I heard that Brian Tyler was to be the composer on this latest re-telling of the story, I was quietly confident that we would be delivered a score that was filled with action, suspense and more importantly some good thematic material, glad to say I was not wrong. This is a large-scale work, which is written for full orchestra and includes many choral performances throughout that are themselves bolstered and supported by various synthetic sounds. I was immediately taken with the composers grand and epic approach to the movie, his rasping and growling brass flourishes instantly grabbing one’s attention, these alongside and fused with driving strings that are embellished by thundering percussive elements are imposing and at times fearsome. I have always been a fan of Tyler, and particularly enjoyed his rhythmic yet grandiose approach to IRON MAN and his epic and powerful score for THOR THE DARK WORLD, he has this knack of creating fantastic film music that fits the movie like the proverbial glove but at the same time stands on its own as just a great and inspiring piece of music. With Brian Tyler you at least get a score that is filled with real themes that develop, breath and grow throughout the score, there are none of these electronic unlistenable grating compositions, if indeed these are compositions that have graced or disgraced block busters over the past few years, by composers who we will not mention now. Tyler’s score for THE MUMMY is a class act, it will enthral and delight film music fans and for me as always Tyler evokes many memories of the style of the late Jerry Goldsmith with also a nod in the direction of Bernard Herrmann. In many way’s this is a score that is written and performed in the same fashion and passion as good old fashion film music which sadly seems to be a thing of the past these days, it is a work that is commanding and at the same time mystically emotive, although poignancy is at times rather scarce, the composer often introducing a cue with something that is not at all action orientated but transforming a lilting motif into something rather more sinister, melancholy and calm more often than not falling by the wayside when things really get going, this is a nonstop, no holds barred action score that has real heart and character and will I know be returned to many times after an initial listen. Tyler hits the spot on every occasion, each time stepping up the mark and enhancing, underlining, punctuating and supporting. His artistry creating a soundtrack that is at times as foreboding, and virulent as the MUMMY itself.

One to add to your collection, a real rollercoaster ride with so many twists and turns it may well send you dizzy. One cue that particularly evoked Jerry Goldsmith for me was track number 24, FORWARD MOMENTUM, swirling strings and timpani supported by brass, woodwind and a scattering of percussion create a wonderfully tense and fraught mood, with the strings carrying along the remainder of the instrumentation on a surge of excitement that is unrelenting and unstoppable, propelling the listener into a volatile and frenzied situation. The same can be said for SANDSTORM another piece that is a showcase for the string and percussion sections, this time supported by choir and brass that together generate and electric atmosphere. So highly recommended.