Facsimile reissue reproduction of the Norwegian-born, Australian-based composer’s 3rd LP. A collection of jazz soundtracks taken from 1960s Australian documentary and public information films. Originally released in 1967, some six years prior to Libaek’s widely regarded Inner Space soundtrack, which was most recently used in Wes Anderson’s The Life Aquatic with Steve Zissou.
This new release too features five exclusive 7-inches, housing a total of 10 seriously rare tunes. All previously unreleased in physical format, the tracks have been carefully selected from the soundtracks of five obscure Italian films from the late ‘70s – sexy flicks that flirted with the line between erotic and explicit, and which are now largely forgotten, having been out of circulation for decades.
In the immense Goblin discography, an enormous void has always been represented by the original motion picture soundtrack of Squadra Antimafia, a score which we have tried to find, since many years, but that is apparently lost. A 1978 movie full of absolute cult icons among which Tomas Milian, Bombolo, Enzo Cannavale, Eli Wallach, Massimo Vanni directed by Bruno Corbucci: to this incredible list of stars to add Goblin is exciting. So, a while ago, following the initiative of Fabio Capuzzo, veteran musicians of the prog and funky Italian scene are involved and gathered to work to a new recording session of this amazing score. The result isn’t intercepted too late by Beat Records radars and so we are proud to give a discographic life to this wonderful project through which, with extreme precision and care has been realized again the soundtrack now expressed through the sonorities of Marcello Bonetta (keyboards), Diego Vergari (drums, percussions) Giorgio Giuseppe Tonazzo (bass), Antonio Micheli (Guitar).
Quartet Records presents a remastered CD reissue of Ennio Morricone's bizarre giallo score for the 1974 thriller L'ultimo Uomo di Sara (Sarah's Last Man). Directed by actress Maria Virginia Onorato (in her only foray into feature film directing), the movie stars Oddo Bracci as Paolo Castellano, an artist who wants to investigate the death of his ex-wife Sara long after the police declare the case closed. Aided by Sara’s friend Anna (played by Rosemary Dexter), Paolo goes through the hours of footage shot by Sara on her camera, slowly realizing that the identity of the killer is captured on film and his identity might be one of the reasons why the police wants the case closed as soon as possible.
Very well done, in depth, reflection on the life of an absolute original. Great old footage of Frank, his music, family, band members, and the many wonderful Zappa media appearances. Highly recommend.
As one of the leading lights of New Orleans music, Dr. John deserves a splashy, star-studded celebration – which is precisely what producer Don Was assembled on May 3, 2014 at New Orleans' Saenger Theatre. Was led a house band featuring drummer Kenny Aronoff, trombonist Sarah Morrow, keyboardist Chuck Leavell, guitarist Brian Stoltz, and pianist John Gros, then invited a host of rockers, blues musicians, and Big Easy legends to the party…
Who's Directing Your Movie? is the second album from singer-songwriters Ali Maas & Micky Moody. Known between them for their work in bands such as Whitesnake, Juicy Lucy, and McQueen, Who's Directing Your Movie? is the follow up to the husband and wife duo's acclaimed debut Black And Chrome, released in 2016…
One of opera’s most outspoken and impassioned personalities, Joyce DiDonato reminds us with her new albumIn War and Peace that music “soothes turmoil, threatens power and the status quo, and gloriously exalts the spirit”. Her selection of arias demonstrates how powerfully Baroque opera explores the extremes of human nature – from the tumult of Handel’s Scenes of Horror, Scenes of Woeto Purcell’s descent into despair, Dido’s Lament. Joyce’s longtime partners, the spirited Italian Baroque ensemble Il Pomo d’Oro, join her on this unique journey through sublime, challenging music; through chaos transformed by the eternal search for serenity.
This program offers three lively, colorful, and captivating orchestral works by two United States composers, born almost a century apart. These pieces exhibit the fruitful exchange and flow of musical material between North and South America that has long played a role in popular music, apparent not only in commercial song and dance music using Latin American melodies and rhythms but also in early jazz and blues where tango rhythms are so often heard, as in W. C. Handy's St. Louis Blues. And both Gottschalk in the 1850s, close to the beginning of a creative American musical tradition, and Gould in the 1950s, when such a tradition had flowered considerably, show a combination of seriousness of approach with a popular touch.