{"id":5106,"date":"2012-06-27T17:13:58","date_gmt":"2012-06-27T21:13:58","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5106"},"modified":"2012-06-27T17:13:58","modified_gmt":"2012-06-27T21:13:58","slug":"cd-notte-la-1961","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5106","title":{"rendered":"CD: Notte, La (1961)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>N to O<\/a><\/p>\n

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\"\"<\/a>Rating: Excellent<\/p>\n

Label:\u00a0Quartet Records (Spain)<\/a> \/ Released: January 31, 2011<\/p>\n

Tracks & Album Length: 18 tracks \/ (55:39)<\/p>\n

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Special Notes: 20-page booklet featuring liner notes and interview with Giorgio Gaslini \/ Limited to 500 copies..<\/p>\n

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Composer: Giorgio Gaslini<\/p>\n

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Review:<\/p>\n

Giorgio Gaslini\u2019s music for Michelangelo Antonioni\u2019s drama (and the composer\u2019s first film score) is a great mix of the abstract, the impressionistic, and modern bop, and features music performed on piano (Gaslini), tenor sax (Eraldo Volante), bass (Alceo Guatelli), and drums (Ettore Ulivelli).<\/p>\n

La Notte<\/strong>\u2019s \u2018natural\u2019 sonic power is derived from source cues with very specific mood, tempo, and performance styles that easily convey sultry mystery (the slow blues \u201cVocci dal fiume\u201d), action (the bopping \u201cBallo di Lidia), and sadness, with Gaslini\u2019s solos revealing his interest in blending jazz, classical, and modernism. As a pianist, Gaslini is supremely elegant, and as a writer he tends to favour a marriage of modernism and blues which became less dominant in later scores such as Deep Red<\/strong> (1975)\u00a0 and Rivelazioni di un maniaco sessuale al capo della squadra mobile<\/a><\/strong> (1972)<\/p>\n

The cue styles generally hover around modern bop, and lengths vary from a few minutes to a chunkier 5 mins., but each comes to a complete end instead of the numerous fadeouts employed on scores like Herbie Hancock\u2019s Blow-Up<\/a><\/strong> (1966), just as the musicians begin to find their groove.<\/p>\n

Quartet Records\u2019 CD features the original album\u2019s pristine mono cues, plus bonus variations from more archival sources. (The tape source for \u201cSalotto party\u201d has a sudden warble, whereas a few cues have some noticeable hiss \u2013 both negligible to jazz connoisseurs familiar with CDs sourced from surviving acetates.) A 1996 Japanese CD gathered some of the bonus cuts in suite form, but the Quartet edition seems to offer some extra material. Even with theme variations, the CD offers a fairly smooth listening experience, and as a sampling of Gaslini\u2019s talent, ought to push a few listeners into further examining his jazz output, particularly for small combo and solo piano.<\/p>\n

Quartet\u2019s production is first-rate, and the booklet includes a lengthy examination of the score, the film, and an interview with the composer.<\/p>\n

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\u00a9 2012 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0N to O<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ N to O . Rating: Excellent Label:\u00a0Quartet Records (Spain) \/ Released: January 31, 2011 Tracks & Album Length: 18 tracks \/ (55:39) . Special Notes: 20-page booklet featuring liner notes and interview with Giorgio Gaslini \/ Limited to 500 copies.. . Composer: Giorgio Gaslini . . Review: Giorgio Gaslini\u2019s music […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[1379,1380],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1km","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5106"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5106"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5106\/revisions"}],"predecessor-version":[{"id":5150,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5106\/revisions\/5150"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}