Einer seiner ganz frühen Compilations und dann für den Zauberer der Filmmelodien zu Ehren: Ennio Morricone. Natürlich alles Klassiker und gut, dass Lucky auch unbekanntere Filmmusiken ausgewählt hat. Inspiriert und gewidmet ist das ganze allerdings John Zorn. Auch er ein großer Verehrer von Ennio. Man denke hier bei nur an John Zorns Hommage „The Big Gundown“. Viel spass beim Zuhören.
- Quasi morto [Per un pugno di dollari, 1964]
- La prima vittima [Svegliati e uccidi, 1966]
- La corrida [La resa dei conti, 1967]
- Tema per le Goff [Le Clan des Siciliens, 1969]
- Sensi [Un bellissimo novembre, 1969]
- Rapimento in campo aperto [La moglie piu‘ bella, 1970]
- Titoli [Indagine su un cittadino al di sopra di ogni sospetto, 1970]
- Marcia degli accatoni [Giu‘ la testa, 1971]
- Dissociazione [Il gatto a nove code, 1971]
- Tempi di lavorazione [La classe operaia va in paradiso, 1971]
- A lucio fulci [Una lucertola con la pelle di donna, 1971]
- Raccapriccio [Cosa avete fatto a Solange?, 1972]
- Titoli [Un uomo da rispettare, 1973]
- Sequenza 10 [Sesso in confessionale, 1974]
- Rampimento [Milano odia: la polizia non puo‘ sparare, 1974]
- Azioneparanoica [Peur sur la ville, 1975]
total time: 69’57
All tracks composed + orchestrated by Ennio Morricone.
1, 8, 12, 14-16 conducted by Ennio Morricone,
2-7, 9-11 conducted by Bruno Nicolai,
13 conducted by Nicola Samale.
Fisted by Lucky in 2007.
Inspired by and dedicated to John Zorn.
Discographical information from Sean Mallory’s extensive Morricone discography @ A Fistful of Soundtracks.
„[…] His way of composing for popular movies will partly be a result of the years that the artist spent arranging more or less all the great popular musical successes of Italy in the beginning of the sixties. Of course, both activities, that of arranger of variety and that of film music composer, are quite different in the way of working and in the imposed constraints. However, Morricone will sometimes include in his partitions for the cinema some of the musical solutions he had developed during the years of intense creative activity when he started as a musical arranger.
At about the same time, he began to work with prestigious collaborators, among whom the chorus I Cantori Moderni di Alessandro Alessandroni (including remarkable voice soloists like Gianna Spagnulo and Edda Dell’Orso) but also guitarist Bruno Battisti d’Amario, trumpet player Michele Lacerenza, harmonica player Franco de Gemini, violonist Dino Asciola, etc… All had an immense talent, and it wasn’t a coincidence. It was the post-war period in Italy, and the competition was hard among the many artists who hoped to be brought to light. Besides, the recording techniques were still rudimentary and did not allow correcting the errors of the musicians. Therefore, the musicians had to be excellent performers so that the first take would be the right one, since they knew that Morricone was very demanding (they were musicians who knew how to interpret the exact sound texture that he had imagined, an essential component of his personal style) and that there were ten other musicians waiting to take their job if they weren’t good enough.
The match between Morricone and his performers became so perfect when years went by that he composed more and more while having already in mind who would perform his scores. This was important for the tone and the color that he wanted to give to the final result, but also because, knowing the level of virtuosity of his soloists, he knew which limits to impose to the complexity of the pieces to play. This perfect symbiosis between Morricone and his musicians explains why it is impossible to dissociate his melodies from his arrangements. Nothing tops the original recordings of that time. […]“
(from an essay by Patrick Ehresmann, translated by Didier Thunus @ Chi Mai)