VOLUME 2 (Compost 155-2, Germany, $18.98, two discs, 27 tracks, 140m 39s) is at times less satisfying, but with two discs, the better bar- gain. Nearly 20m of inspired reconstructions of Morricone’s Western themes cascade into a cel- ebration of his apparently limitless creativity, with remixes drawn from gialli, science fiction, ro- mances, crime films, and historical dramas. Some purists may twinge at the thought of putting dance beats to the main title of THE GOOD, THE BAD AND THE UGLY, but these Morricone-authorized adventures are an engag- ing entertainment, and confirm the diversity and agelessness of his music.
For more details, ask the man with the har- monica at
cinesoundz.com.
Bruno Nicolai Bruno Nicolai in Giallo
The music honored in KILL BILL and ENNIO MORRICONE REMIXES owes much to Bruno Nicolai, the longtime friend and collaborator who arranged and conducted so many of Morricone’s classic scores. Although Nicolai (who died in 1991) worked in Morricone’s long shadow, he composed nearly 90 feature film scores on his own, most of them written between 1966 and 1976. Because of their intimacy and frenetic work schedules in those halcyon years—and because Nicolai typi- cally recorded with the same musicians used in Morricone’s sessions—it is sometimes difficult to distinguish their compositions.
Although some of Nicolai’s memorable film music has been released on compact disc, Italy’s Digitmovies has announced the first series devoted
to his works: BRUNO NICOLAI IN GIALLO. The initial releases are world premieres of the com- plete scores for two 1972 gialli, digitally remas- tered from the original stereo tapes at Edipan, Nicolai’s publishing company and record label: Giuliano Carmineo’s Perché quelle strane gocce di sangue sul corpo di Jennifer? [US: CASE OF THE BLOODY IRIS aka WHY ARE THOSE STRANGE DROPS OF BLOOD ON THE BODY OF JENNIFER?] (CDDM013, Italy, approx. $16.95, 26 tracks, 62m 32s); and Sergio Martino’s Il tuo vizio è una stanza chiusa e solo io ne ho la chiave [US: EYE OF THE BLACK CAT aka GENTLY BEFORE SHE DIES] (CDDM016, Italy, approx. $16.95, 20 tracks, 43m 19s). Nicolai’s first major forays into horror came in 1968-70, with the Jess Franco period shockers THE BLOODY JUDGE aka NIGHT OF THE BLOOD MONSTER [Il trono di fuoco], MARQUIS DE SADE’S JUSTINE aka DEADLY SANCTUARY, and COUNT DRACULA [El conde Dracula] and his contemporary Sadean exploration EUGENIE... THE STORY OF HER JOURNEY INTO PERVER- SION [De Sade 70]. Although he orchestrated Morricone’s music for Dario Argento’s “Animal Tril- ogy,” his first giallo score was for Sergio Martino’s CASE OF THE SCORPION’S TAIL [La coda dello scorpione, 1971]. Jennifer and Il tuo vizio showcase Nicolai at the height of his powers. Both scores were recorded in July 1972 at Rome’s Ortophonic Studios, and feature similar ensembles performing the trademark giallo sound perfected by Morricone and Nicolai, with the indubitable influence of Krzysztof Komeda: a mingling of hauntingly innocent themes (includ- ing, as in THE BIRD WITH THE CRYSTAL PLUM- AGE, lullabies), pop instrumentals, atonal jazz and orchestral interludes, and churning string passages— all in service of an atmosphere of anxiety and eerie beauty. Il tuo vizio, with its insistently romantic main title, is perhaps the better of these appealing scores (although Jennifer is a more expansive disc, with 10m of music not used in the film). Each is a stark reminder of the memorable music that Bruno Nicolai composed for what sometimes proved to be less-than-memorable films.
For more information, sharpen that shiny blade and skulk through the shadows to
digitmovies.com.
The Audio Watchdog may be contacted on line at
OnEyeDog@aol.com. Review and promotional materials should be sent c/o Vale House, 2495 Oakton Hills Drive, Oakton VA 22124.
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