Audio Watchdog By Douglas E. Winter
Whether considered an imaginary soundtrack or a love letter to Italian film music of the 1960s and ’70s, ROME (Capitol 50999-9-46485-22, $11.68, 15 tracks, 35m 5s)—not to be confused with the Luxembourg goth band or the 1990s R&B singer—is a listening delight. Composed and pro- duced by Danger Mouse (aka Brian Burton) and Daniele Luppi, its gorgeous tracks were recorded live-to-tape in the hilled city’s Forum Studios us- ing vintage equipment without electronics, com- puters, or contemporary effects. The disc features two legendary Italian film music ensembles—stu- dio quartet Marc 4 and the Cantori Moderni di Alessandro Alessandroni—as well as vocals by Edda dell’Orso, Norah Jones and Jack White (who penned lyrics). Although obviously influenced by Ennio Morricone and Bruno Nicolai, the music shies from a full-on embrace of the Italian west- ern genre and centers on more delicate and dream-like mid-tempo cues that represent an almost melancholic nostalgia for the music of the Cinema all’Italiana.
When in Rome
The real thing, as represented by two archi- val releases from Chris’ Soundtrack Corner, al- most pales in comparison. Riz Ortolani’s score for Alberto De Martino’s GODFATHER/poliziotteschi hybrid Il consigliori (1973; US: THE COUNSEL- LOR/COUNSELOR AT CRIME; CSC 009, Ger- many, €16.95, 17 tracks, 44m 32s) opens with
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the now-familiar massed-string romanticism that powered Ortolani’s main titles for the likes of MONDO CANE (1962), GOODBYE UNCLE TOM (1971) and CANNIBAL HOLOCAUST (1980). Of equal importance, however, is “The Advisor,” a trumpet-led pop-funk excursion that (as John Bender’s booklet notes kindly put it, “referenced” the electric piano lead for Eumir Deodato’s then- popular take on “Also Sprach Zarathustra”). It- erations of the two primary themes dominate the score, with a refreshing source interlude of lounge exotica, “Music Flute,” at the midway point. About half of the music has appeared pre- viously on vinyl LP (Beat Records LPF 022, 1973).
Stelvio Cipriani composed the music for David
Janssen’s only apparent turn in Italian cinema, Romolo Guerrieri’s SONO STATO UN AGENTE CIA (COVERT ACTION, 1978; CSC 009, Germany, €16.95, 17 tracks, 34m 2s). Its main title, “Relax,” offers a harpsichord and string romp over driving disco bass and drums. Cipriani’s pensive side illu- minates the resurgent theme of “C.I.A. Agent,” which establishes the key role of flute and guitar in the score, as well as the composer’s unwilling- ness to define this film by genre. Inevitable evoca- tions of the film’s Greek setting follow, but they’re blessedly brief. The eloquence of this alternately moody and suspenseful music may surprise those with only a passing exposure to Cipriani’s grittier, groove-oriented poliziotteschi standards. Save for four tracks (less than 9m), this is the soundtrack’s premiere release.
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