made in the early 1990s by Twentieth Century Fox. The result, whether from a collecting or lis­ tening standpoint, is a delight. Moving from the Pyramids to Paris (well, actu­


ally, Marseilles), FSM also unleashes Don Ellis’s previously unreleased edgy jazz workouts for THE FRENCH CONNECTION and FRENCH CONNEC­TION II (FSM voi. 4 no. 6, $19.99, 33 tracks, 75m Is). Ellis, who died of a heart ailment at age 44, was known for his experimentation with the Big Band jazz sound in the 1960s and 70s; his com­ positions for William Friedkin and John Franken- heimer for the FRENCH CONNECTIONS are his best-known film work. FSM proffers his com­ plete scores for both directors, restoring 20m of music discarded by Friedkin and affirming Ellis’s promise as a film composer—his take on the 70s crime genre was nervous, dissonant, and clearly more adventurous than that of more familiar and prolific contributors like Lalo Schifrin and Quincy Jones. Each disc is available for $19.95 plus ship­


ping from Film Score Monthly, 8503 Washington Blvd, Culver City CA 90232. For more informa­ tion, visit www.filmscoremonthly.com.


Out of Italy The closest rival to Goblin’s Nonhosonno for


the best new score to emerge from Italy in recent years is an unheralded wonder composed and performed principally by Teho Teardo and Federico De Robertis for Gabriele Salvatores’ Denti (Sony/Columbia Soulsidrs COL 500603 2,


Italy, approx. $18.99, 22 tracks, 75m 9s). The music is dreamy and elegant, a mingling of the ambient and orchestral with the rhythms of hip- hop that works with seamless power; the result isn’t simply a soundtrack, but a disc with strong musical qualities of its own. Four cues by Eraldo Bernocchi bring a Middle Eastern flourish to the mix, and even the classic rock cues (Deep Purple’s “Child in Time” and Procul Harum’s “A Whiter Shade of Pale”) work well—it’s a mesmerizing disc. For more information on the music and the film, visit www.denti.cecchigori.com/home.htm. The aptly titled SCARLET DIVA is the first fea­


ture directed by Asia Argento; its soundtrack, however, is anything but Italian (Hefty 026, $17.99, 18 tracks, 30m 27s). Composed and performed by John Hughes III—the child of another well- known director—the music is dark and edgy, doomladen Chicago-blues-flavored jazz/folk/ electrónica that, like the best scores, is a sum that is far better than its parts. Hughes’ world- weary, gasping vocals will work for some listeners but drive others to distraction (or to press the eject). It’s unlike any music previously identified with the name Argento—or, indeed, the Italian tradition—and far closer to the sort of thing that would happen if Radiohead were to produce a bluesy score for David Lynch. File deep in the eclectic.


Review materials should be sent c/o One


Eyed Dog, PO Box 27305, Washington DC 20038. The Audio Watchdog is on-line at OnEyeDog@aol.com.


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