{"id":5120,"date":"2012-06-27T16:58:51","date_gmt":"2012-06-27T20:58:51","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5120"},"modified":"2012-06-27T16:59:55","modified_gmt":"2012-06-27T20:59:55","slug":"cd-soldisti-di-armando-trovajoli-i-1968","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5120","title":{"rendered":"CD: Soldisti di Armando Trovajoli, I (1968)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>S<\/a><\/p>\n

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\"\"<\/a>Rating: Very Good<\/p>\n

Label:\u00a0Cometa Records (Italy)<\/a> \/ Released: 2012<\/p>\n

Tracks & Album Length: 17 tracks \/ (45:56)<\/p>\n

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Special Notes: 8-page colour booklet with dual Italian & English liner notes \/ Limited to 500 copies..<\/p>\n

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Composer: Armando Trovajoli<\/p>\n

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Review:<\/p>\n

Comprised of Maurizio Maiorana, Antonello Vannucchi, Roberto Podio and Carlo Pes, I MARC 4 was a small band of fellow jazz musicians who performed their own music as well as works by some of the era\u2019s most popular film composers between the fifties & sixties, and Cometa\u2019s CD features their debut album plus a trio of unreleased cues \u2013 all composed by organ-friendly Armando Trovajoli.<\/p>\n

Part trippy funk and lounge jazz, it\u2019s a peculiar m\u00e9lange of moods and themes with some utterly weird effects \u2013 namely an instrument (or technique) that mimics a monkey scream like an organ solo. The effects works, but it\u2019s an aspect that does take some acclimatizing given the CD isn\u2019t a straight jazz album (bonus cut \u201cJust Simple\u201d excepted). The \u2018simianized\u2019 cues include \u201cAlex\u201d and \u201cMato Grosso\u201d + bonus alternates.<\/p>\n

Other cues are less risky: \u201cPiccadilly Circus\u201d is part Batman<\/strong> theme riff, with heavy guitar, organ, and an unwavering, rock-styled backbeat, whereas a more mysterious mood permeates the stalking cue \u201cHide Park\u201d with its ethereal female voice, and echoplexed flute hovering over a funky backbeat. Organ and flute also dominate the fast-moving \u201cRegent Street,\u201d but the mood is more evocative of a fast jaunt down a busy street.<\/p>\n

After the jazz-rock \u201cSoho\u201d the album switches to some Bossa Nova, showcasing an electrified harpsichord in \u201cTrafalgar Square,\u201d a Bossa-rock style in \u201cGare\u201d with a sudden central fugure, and the album\u2019s remainder is more backbeat-heavy rock with generous organ solos.<\/p>\n

As an album and musical artifact, the Trovajoli compositions & performances represent a perfect snapshot of swinging London as filtered through sexier, wittier Italian sensibilities, and the performances of the quartet still sound fresh and upbeat. I MARC 4\u2019s skills were also vital to the success of several seventies film scores, notably Peppino de Luca crazy L\u2019uomo dagli occhi di ghiacchio<\/a><\/strong> (1971) and Carlo Pes\u2019 own Un uomo dalla pella dura<\/a><\/strong> (1972) [M<\/a>].<\/p>\n

Cometa\u2019s album features cleanly mastered cues from the stereo masters, although the engineering emphasizes a spatially-trippy environment with echo & reverb instead of a standard close-miked stereo image. Cue lengths range from just under a minute to roughly four, although most cues seem tailored for easy single release and 2 & \u00bd mins.<\/p>\n

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

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External References:<\/p>\n

IMDB <\/a>—\u00a0Composer Filmography<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0S<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ S . Rating: Very Good Label:\u00a0Cometa Records (Italy) \/ Released: 2012 Tracks & Album Length: 17 tracks \/ (45:56) . Special Notes: 8-page colour booklet with dual Italian & English liner notes \/ Limited to 500 copies.. . Composer: Armando Trovajoli . . Review: Comprised of Maurizio Maiorana, Antonello Vannucchi, […]<\/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":[1383,1384],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1kA","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5120"}],"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=5120"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5120\/revisions"}],"predecessor-version":[{"id":5145,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5120\/revisions\/5145"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}