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Alessandro Alessandroni, is a name that is synonymous with the world of Italian film music, he is not only a performer and leader of the famous IL CANTORI MODERNI but he is also a gifted, talented and highly innovative composer. It is probably true to state that Alessandroni has been involved with 99 percent of the film scores that came out of Italy between 1964 and up to the late 1980,s. His style is distinctive as a performer with his instantly recognisable whistle being the Maestros trademark sound. He is a gifted guitar player and also performed Sitar, piano and mandolin on many occasions and provided vocals on so many soundtracks it is difficult to comprehend this maestros boundless contributions to the art of film music.

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His collaboration with artists such as Edda Dell Orso is well known and of course he was the preferred whistler, guitarist and choir master of composers such as Armando Trovajoli, Francesco de Masi, Piero Umiliani, Ennio Morricone and Bruno Nicolai, as well as working with many other composers such as Nico Fidenco, Gianni Ferrio, Marcello Giombini, Gianni Marchetti and Giacamo dell Orso to name but a few. His range is vast and his musical prowess towering. Born in Soriano nel Cimino which is a short distance from Rome, as a young performer Alessandroni would completely and totally concentrate upon the folk music traditions of the Lazio area of Italy. Assisted by a friend he began to learn the basics of the guitar and learnt chords that would act as a foundation for the rest of his musical education, as a teenager he acquired his first mandolin and then began to listen to classical music but by the time he was in his last years of school he had mastered the instrument and formed his own band which would perform at dances and other functions. He soon became familiar with various instruments and would play these with confidence, they included Accordion, Guitar, Bass Tuba and Tenor Sax.


It was the Tenor Sax and his first encounters with Jazz that convinced him that it was music he wanted to take up as a career, he then toured Europe performing in various clubs as a singer and pianist. After his tour of Europe he returned to Italy and formed a singing group, THE FOUR CARAVELS and performed on a popular Italian TV show CANZONISSIMA, it was at this time that a childhood friend who was also a composer asked him to collaborate on the soundtrack to a western movie, the film was A FISTFUL OF DOLLARS and the composer was of course Ennio Morricone. It was at the request of Morricone that the group of singers was expanded to become 16 in number and renamed IL CANTORI MODERNI. The rest as they say is history, Alessandroni went on to work on hundreds of film scores as performer and choir master but also began to compose his own film scores and in his illustrious career has been responsible for penning over fifty soundtracks for both film and television.

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He soon gained a reputation for being a consummate and highly polished and professional artist, but even after working on so many projects and in essence creating the sound along with Morricone that would become established as the style and musical persona of the Italian Western genre, Alessandroni still remains unaffected and modest stressing that he is a performer and not a star the stars are the composers.


This recording is the first release of the actual film score from the western EL PURO ( LA TAGLIA E TUA…L’UOMO L’AMMAZZO IO) (1969), there was a re recording released which featured Alessandroni many years ago which contained an extended suite of music from the movie, but these are the original session recordings. The central theme is very much in the style of A FISTFUL OF DOLLARS with underlying influences of THE GOOD THE BAD AND THE UGLY with the core theme being whistled flawlessly by the composer and accompanied by harmonica and organ with the added support of a galloping percussion that is bolstered by choir and interspersed by barking male voices and electric guitar that are all underlined and tied together with strings. In fact I suppose that one could refer to this as text book Spaghetti western. The theme which is primarily a five note motif is repeated throughout the score either performed in whistling form or given a rendition on electric guitar. There is also a secondary theme in the form of a lilting and romantic sounding Spanish guitar solo that is enhanced with subdued sounding organ both this and the core theme for the soundtrack make appearances throughout in various arrangements the main theme being given a slower tempo at times and performed by harmonica and aided by a scattering of brass.


Directed by Edoardo Mulargia, EL PURO starred genre stalwart Robert Woods, his character is something of a down and out at the beginning of the movie, he is a drunk and hiding away in a small border village scared of his own shadow and portraying himself as an individual that fears everything even his own shadow. What we learn as the movie opens up is that in fact the Woods character is a famous gunslinger who is hiding away from the many would be gunfighters that want to make a name for themselves by killing him. So he hides away in a perpetual state of intoxication in the hope that it will shield him from being found. His only support and compassion coming from a saloon girl Rosie played with conviction and warmth by Rosalba Neri who has recognised him, she decides to help him and takes him in to get him back to health in the hope that they can make a life together. Unbeknown to Rosie and El Puro a sadistic gang leader Gypsy portrayed by Marco Fiorini under the alias of Ashburn Hamilton jnr, who has recently escaped prison arrives in the village with his band of cutthroats looking for El Puro not knowing how low he has sunk too, Gypsy is determined to find him and kill him for his own pleasure and collect the 1.000 dollar reward that is still on his head.


This is where we can draw comparisons with FOR A FEW DOLLARS MORE as Gypsy is in many ways similar to El Indio the villain of that piece. Rosie is killed by Gypsy and his gang and it is now time for El Puro to return to avenge her. Its not a classic Spaghetti western but it certainly has some interesting twists and turns and there is no doubt it is an entertaining example within the genre.

John Mansell Movie Music International.(ifmca).


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Going back to the 1990,s in fact to 1995 for this Compact disc release, billed as a tribute to Ugo Tognazzi, it contains selections of cues from three of the actors movies. IL COMMISSARIO PEPE music by Armando Trovaioli, SLENDORI E MISERIE DI MADAM ROYALE music by Fiorenzi Carpi AND SISSIGNORE with music courtesy of Berto Pisano. All three scores are perfect examples of Italian film music from the late 1960,s and the early 1970,s. IL COMMISSARIO PEPE is for my money probably the better of the three soundtracks included here or at least the most entertaining, but this is only because like most of his scores Trovaioli includes so much rich thematic material which leaves the listener thinking how could so many great themes possibly come from one film score, the orchestration of this occasion is remarkably refined, the composer utilising, laid back Hammond organ, whistling from Alessandroni, luxurious sounding stings and easy going saxophone solos that in turn are complimented by polished piano performances a song WE’LL KEEP TRYING performed by Lydia McDonald who also wrote the lyrics. Plus there is the flawless vocals of Edda Dell Orso, what more could you want? To try and identify a stand out track is impossible because every cue is a delicious and riveting listen. However I was rather drawn to track number 7, WALTZ THEME in which harpsichord is used to great effect along side romantic and lush strings and also track number 8, LOVE THEME, which is what is says a beguiling and sensual piece with steamy Hammond organ, harpsichord flourishes and underlying passionate strings that are present throughout but never overpower or overplay the harpsichord. Track number 9, too is a text book Italian film music cue, with whistling, strings, jazzy saxophone percussion adding a rhythmic backing and again the harpsichord adding a great atmosphere to the proceedings. The score has since this release received an expanded edition release, but I am content with the 9 tracks I have here another triumph for Trovaioli.


SLENDORI E MISERIE DI MADAM ROTALE is next in the running order with music composed and conducted by a somewhat overlooked Italian film music Maestro, Fiorenzo Carpi, 7 cues represent his score on this release, which is to be fair quite a nice listen, with Carpi even providing a parody of the Spaghetti western score in the cue COME IN WESTERN, there are some nice touches within the score his use of woodwind and piano underlined by strings etc, the movie is a comedy/drama, which at times does not get its punch lines over to non Italian audiences, (its lost in the translation as they say). Carpi score however is an interesting listen and seems to musically dip its foot into every genre of film imaginable, western, period, dramatic and of course comedy and even if it does have a particularly annoying vocal it is still worth listening to too.


SISSIGNORE is next with the composing duties being taken on by Berto Pisano who is another unsung hero of the Italian film music world. This an upbeat affair for the most part with an opening theme which bares more than a passing resemblance to CLASSICAL GAS by Mason Williams. The film was a comedy written, directed and starring Ugo Tognazzi, Pisano’s score is suitably upbeat and at times chaotic, but also contains some nice less furiously full on moments, a jazz orientated flavour weaves in and out of the score with Pisano adding just the right amount of dramatic content and diluting this with little touches of comedic sounds before things get too serious.


Tracks such as TEMA DI OSCAR and JUMPING ON THE SAND are exhilarating and filled with great musical hooks to keep the listener interested plus there are cues such as SKI LIFT that contain an almost Count Basie sound and ATTIMO PER ATTIMO which has some wonderful saxophone work. Like IL COMMISSARIO PEPE, SISSIGNORE is filled to overflowing with vibrant and infectious themes. This is a fantastic compact disc and I notice is still available on certain shopping sites on the internet. It would be re-miss of me not to say GO AND BUY IT.



Originally released as part of the CAM SOUNDTRACK ENCYCLOPEDIA, PROFUMO DI DONNA, is in my humble opinion one of Armando Trovaioli’s most accomplished scores. It is also one his most haunting and infectious with every track yielding a theme that remains with the listener long after it has finished. The movie which was released in 1975 is based upon the novel DARKNESS AND HONEY by Giovanni Arpino. Two army officers are injured in an accidental explosion and are both blinded, they are so distraught that they will never again see that they make a pact to meet in Rome where they plan to commit suicide. However things do not go quite to his plans and on route to Rome he is accompanied by a young soldier and starts to realise that the love of a woman is still worth living for even if he cannot see her. Directed by Dino Risi, the movie blends light comedic touches with drama to great affect, Risi managing to combine the two successfully. Trovaioli’s score is a romantic and fairly easy going one, it has some of the most attractive thematic material within it and is a joy to listen to from start to finish, the composer fusing at times light and intimate jazz moments with that of lush orchestral passages and interweaving delicate and touching musical nuances between the two styles. Many of the cues are piano led with Trovaioli building upon the foundation of the piano to create wonderfully melodic compositions, on listening to the score one I think would image it to be a easy listening album with each and every cue being something of a triumph in its own right. It is also in my opinion very similar to the work of Morricone from the same period, but saying this Trovaioli certainly has an individuality and a sound that is undeniable his alone.


Re-issued recently on the Sugar label but with sadly no extra music (probably because there was none). The compact disc also features one of my own personal favourite Italian vocals CHE VUOLE QUESTA MUSICA STASERA performed by Peppino Gagliardi, with the orchestra being directed by another Italian film music Maestro Stelvio Cipriani. The original CAM release is probably quite scarce nowadays so I suggest you seek out the re-issue on the Sugar label. If you have not already got this it is one that you have to purchase ASAP……..A classic Italian soundtrack.