laohu
01-26-2015, 12:05 AM
Riz Ortolani - Una Sull'Altra (2007, FLAC)
1 Una Sull'Altra
2 Susan And Jane
3 Lombard Street
4 Sitar In Blues
5 St. Francisco Railways
6 St. Quentin
7 Golden Gate Bridge
8 Latin Quarter
9 Susan And Jane
10 The Roaring Twenties
11 Una Sull'Altra
https://mega.co.nz/#!2B5nxIqK!F6pBdV_SddUR8sE7CdHGCmdFKALU_smw4nSpUj8 4n6k
http://s07.flagcounter.com/count/LDi/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_150/viewers_0/labels_1/pageviews_1/flags_0/ (http://s07.flagcounter.com/more/LDi)
---------- Post added at 11:05 PM ---------- Previous post was at 11:04 PM ----------
Review by Thom Jurek All Music
When Riz Ortolani, famed composer of the score to the cult film Mondo Cane, ended his partnership with that film's producers, he entered the wide-open world of late-'60s and early-'70s Italian cinema. This score for a wild, erotic thriller, with lots of bullets and bisexual female criminals and private eyes by Lucio Fulci, seemed the perfect opportunity for Ortolani to exercise his longstanding penchant for jazz and bossa nova. It was. Of all Ortolani's scores, apart from Mondo Cane, Una Sull'Altra is his most gratifying and adventurous musically. There's the jazz cum bossa love themes for "Susan and Jane," the West Coast jazzy blues of "Sitar in Blues" (which is played by an acoustic National Steel guitar), and then the full on Herbie Mannish "San Francisco Railways, where everything is counted in fours until the orchestra kicks in to move the piece into deep hard bop blues � la Kenton at his most texturally and atmospherically experimental. "St. Quentin" recalls "St. James," with its muted trumpet take on the W.C. Handy blues, though it is shrouded in reverb and echoplex making for one of the loneliest street sounds ever heard. When the band enters, the trumpet is muted and comes on with an intimacy of such melancholy of late-night loneliness. The jazz bossa is back on "Golden Gate Bridge," where a flute takes the midnight creep and the brass enters at the right moments to maximize the suspense. In "Latin Quarter," it's all bossa; blue bossa, sultry and sexy and volatile. In the midst of a seduction a stiletto is fleshed and the entire thing comes apart in a sleek, sensual kind of violence. There are other tracks, but perhaps the most notable and revealing selections on the disc are the alternate takes of the "Susan and Jane" love theme (two longer ones than the three interludes already included, which are very different, sexier and steamier), two more versions of the title track, and another version of "Sitar in Blues" that is hilarious. What's more, they added the alternates to the end of the disc so they don't contaminate the integrity of the original recording. In all, this is a stellar package with great photos, a handsome slipcase, and a score that is truly wonderful as a stand-alone text that can be listened to at your next party, poker game, or seduction. It's that versatile.
1 Una Sull'Altra
2 Susan And Jane
3 Lombard Street
4 Sitar In Blues
5 St. Francisco Railways
6 St. Quentin
7 Golden Gate Bridge
8 Latin Quarter
9 Susan And Jane
10 The Roaring Twenties
11 Una Sull'Altra
https://mega.co.nz/#!2B5nxIqK!F6pBdV_SddUR8sE7CdHGCmdFKALU_smw4nSpUj8 4n6k
http://s07.flagcounter.com/count/LDi/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_150/viewers_0/labels_1/pageviews_1/flags_0/ (http://s07.flagcounter.com/more/LDi)
---------- Post added at 11:05 PM ---------- Previous post was at 11:04 PM ----------
Review by Thom Jurek All Music
When Riz Ortolani, famed composer of the score to the cult film Mondo Cane, ended his partnership with that film's producers, he entered the wide-open world of late-'60s and early-'70s Italian cinema. This score for a wild, erotic thriller, with lots of bullets and bisexual female criminals and private eyes by Lucio Fulci, seemed the perfect opportunity for Ortolani to exercise his longstanding penchant for jazz and bossa nova. It was. Of all Ortolani's scores, apart from Mondo Cane, Una Sull'Altra is his most gratifying and adventurous musically. There's the jazz cum bossa love themes for "Susan and Jane," the West Coast jazzy blues of "Sitar in Blues" (which is played by an acoustic National Steel guitar), and then the full on Herbie Mannish "San Francisco Railways, where everything is counted in fours until the orchestra kicks in to move the piece into deep hard bop blues � la Kenton at his most texturally and atmospherically experimental. "St. Quentin" recalls "St. James," with its muted trumpet take on the W.C. Handy blues, though it is shrouded in reverb and echoplex making for one of the loneliest street sounds ever heard. When the band enters, the trumpet is muted and comes on with an intimacy of such melancholy of late-night loneliness. The jazz bossa is back on "Golden Gate Bridge," where a flute takes the midnight creep and the brass enters at the right moments to maximize the suspense. In "Latin Quarter," it's all bossa; blue bossa, sultry and sexy and volatile. In the midst of a seduction a stiletto is fleshed and the entire thing comes apart in a sleek, sensual kind of violence. There are other tracks, but perhaps the most notable and revealing selections on the disc are the alternate takes of the "Susan and Jane" love theme (two longer ones than the three interludes already included, which are very different, sexier and steamier), two more versions of the title track, and another version of "Sitar in Blues" that is hilarious. What's more, they added the alternates to the end of the disc so they don't contaminate the integrity of the original recording. In all, this is a stellar package with great photos, a handsome slipcase, and a score that is truly wonderful as a stand-alone text that can be listened to at your next party, poker game, or seduction. It's that versatile.