An overlooked Morricone score – one that contains some of his coolest themes! The soundtrack was written for an obscure 1968 thriller starring Vittorio Gassman – and the overall approach has some wonderfully imaginative orchestrations – dark at times, but lightly floating with some really catchy tunes at others! Includes a male vocal version of "Canzone Della Liberta", the classic "Belinda May", and other tracks that include "Pennellate", "Una Fotografia", "Recitazione Corale", "Lo Libero", "Sognando", and "Immagini Del Tempo". This expanded CD features a whopping 27 tracks in all – including some great alternate takes and other unusual versions! CD

One of the more striking Ennio Morricone scores of the early 70s – a set that's probably less iconic than some of the rest – but in a very cool way! The set begins with a vocal number performed by Carmen Villani, then moves into music that drifts between the ethereal and funky – often with instrumentation that's a slight shift from the usual Morricone modes, yet still graced with all that sense of space, timing, and charm that the maestro can bring to his music! The music more than lives up to everything you love about Ennio Morricone, but there's a sense of execution that's a really good change too – on titles that include "Quasi Rock", "Informale V", "Archi", "Scale", "Resquiescant", "Topi", "L'Ultimo Uomo Di Sara", and "Informake VIII". CD

A beautifully building score from Ennio Morricone – one that's filled with tracks that start out slow, then layer on elements in a really wonderful way! The main theme is a bit dreamy, but some others are a bit dark – and are done in an arry of jagged sounds and offbeat instrumental tunings that reminds us a bit of Morricone's brilliance on the score for The Burglars (Gli Scassinatori). As with that one, piano figures strongly on some of the tunes here – recorded with spare, echoey qualities – but in ways that are hardly the sweeter tones of Morricone's more famous scores of later years. CD features a total of 19 tracks in all – a nicely expanded version of the soundtrack! CD

One of our favorite all-time soundtracks from the legendary Ennio Morricone – and a record that really clued us in to that subtle sort of genius that sets him apart from the rest! Maestro Morricone is working in a number of different modes here – really making this one of the more richly textured soundtracks. His notes just inch by, one after one, in short, spare passages – and they build up into a tapestry of sweet, yet off-kilter sounds – which are then balanced with some warmer moments too – with occasional bossa moments to relieve the tension, and a few groovy cuts too! The whole thing is incredible – a masterpiece of sound and subtle instrumentation – on titles that include "In Un Sogno Il Sogno", which features a stunning solo vocal performance by the great Edda Dell'Orso – plus "La Donna Invisible", "Un Bacio", "Alla Serenita", "Silenziosamente", "Incontro Travsversale", and "La Moda". CD

Two groovy Ennio Morricone scores from the 60s – both of them pretty darn great! La Trappola Scatta A Beirut is a hip spy thriller from the time – done with some bold, jazzy inflections on the instrumentation – and styles that echo American and British thrillers of a similar nature. There's some great use of flute and saxophone over more complicated backings – and although there's a bit less of the Morricone sense of space in the overall composition, there's still some key darker touches that are definitely the mark of the maestro. Titles include "Relax Per Un Agente Segreto", "Inseguimento", "Attesa E Fuga", "Agente 505 Missione Compiuta", and "Langiudamente". Next up is the equally jazzy score to Il Successo – a beautiful blend of tenor, vibes, flute, and other sweet instrumental touches – very much in the best Italian soundtrack jazz style of the early 60s. The whole thing's great, and a very overlooked chapter in Morricone's music – with titles that include "Malinconico", "Il Successo", "Per Vittorio", "Allegra Sambina", and "Sarabanda Twist". CD

Dark genius from Ennio Morricone – a soundtrack that begins with a cool water dripping sound on the title theme – then moves into a set of tunes that are equally spacious and moody! The music unfolds slowly, in this really beautiful way – sometimes with light piano lines stepping along, sometimes with wordless vocals from the great Edda Dell'Orso, sometimes with a bit of woodwind – but all in that isolated, slow-building mode that Morricone could do so well at the time! There's a sense of larger majesty from simple elements that almost hints at the wider Morricone sound to come – but overall the whole thing's still got that spare, compressed sound that we love so much from his early 70s work. Titles include "Il Segreto", "Dal Mare", "Nebulosa Seconda", and other variations on these themes. New CD edition features 5 bonus tracks! CD

An overlooked later score from Ennio Morricone – one with a slightly modern approach to instrumentation, but much of the charm of his best work from the 70s! Unlike some of the other Morricone soundtracks from this period, this one's never too overblown – often done with a spare, subtle approach, and a fair bit of light instrumentation – including some of those sweet, bossa-influenced lines that we love so much from the earlier years of the maestro. There's a bit of later keyboard elements on some tracks, but overall much of the instrumentation feels just like the 70s – nice and warm at the right moments, and recorded with a carefully close feel that really helps the isolated elements stand out nicely. CD features 13 tracks from the film – and features some solo moments from Italian jazz great Oscar Valdambrini. CD

We're not sure why Ennio Morricone is making the "shush" sound at us on the cover – as the set's such a wonderful celebration of his music, it makes us want to cheer! The performance here is all new – and features Morricone conducting the Czech National Symphony in a selection of tunes from his classic film scores – in a celebration of his 60 years of giving the planet some of the most beautiful music ever written! The orchestrations are great, and really live up to the spirit of the songs – and there's a recording quality here that's different than some of the other live Morricone albums, which can sometimes flatten the music, and not have that sense of separation and isolation that make the maestro's compositions so great. Titles include "Chi Mai", "Bestiality", "La Califfa", "Death Theme", "Deborah's Theme", "Metti Una A Sera A Cena", "Croce D'Amore", "The Fortress", and "The Man With The Harmonica". CD

A cool collection of vocal songs from the world of soundtrack maestro Ennio Morricone – many of which are more unusual than some of his bigger themes, and brought together here as a great addition to the Segreto series! The work runs from the early 60s to the early 70s – and the package mixes together dreamy female vocal numbers, catchy western themes, and plenty more great bits – all at a level that also showcases the way the maestro was working in Italian vocal music during the 60s, before moving more firmly into the world of cinema. The package features 21 rare tracks in all – including one number by a singer who's completely unknown – with titles that include "Splash" by Peter Boom, "Fruscio Di Foglie Verdi" by Trio Junior, "Una Stanza Vuota" by Lisa Gastoni, "Pioggia Sul Tuo Viso" by The Sorrows, "Nuvole" by Jimmy Fontana, "You & I" by King Harvest, "Luce Chiara Per Vergine" by Edda Dell'Orso, "Filastrocca Vietnamita" by Sergio Endrigo, "Metti Una Sera A Cena" by Florinda Bolkan, and "Matto Caldo Soldi Morto Girotondo" by I Cantori Moderni Di Alessandroni. CD

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A gorgeous second volume to this amazing set – every bit as career-spanning as the first edition, but with a nicely different focus! This time around, the set has some especially rare material for fans of the Italian soundtrack genius – including a full CD of rare TV soundtracks scored by Ennio Morricone – plus additional themed CDs that include one disc of Vocal Songs and Covers, one of Lost Horizons, one of Unique Collaborations, and other CDs titled Comedy, Faces Of Italian Cinema, French Cinema, American Cinema, War Stories, and International productions! The package is stunning too – a book-style hardcover set, with 48 pages of notes and interviews! There's a massive 310 tracks on the 14 CDs – and the set mixes classics with rare material and some previously unreleased tracks – further testament to the endless depths of the soundtrack genius of Ennio Morricone. CD

A dark little score from Ennnio Morricone – penned for a mid 70s film that starred Rod Steiger as Mussolini! The style here is even more spacious, and almost more tense, than some of Morricone's horror work of the time – and in a way, the music often has a cold, grey quality – with far less color or striking sound than some of Morricone's lighter, whimsical soundtracks. There's also a pronounced sense of space, too – a feel that almost has you waiting for each new note to come – instead of that more flowing Morricone style of familiar work. Titles include "SOS La Fine", "Ultimo Atto", "Giustiziato", "Verso La Frontiera", and "Mussolini Ultimo Atto". CD

A Morricone score penned for a comedic western – but music that's really on a par with any of his more familiar classics of the genre! The styles here run from dark to bright – with some numbers that feature trademark Morricone styles like isolated harmonica or chanting vocals, to others that cascade with slightly more contemporary instrumental modes – including just a bit of subdued electricity amidst the larger orchestrations. But in any setting, the Morricone genius shines through beautifully – and there's a sense of depth to even the simplest tunes here that's really great – and the balance here is what really makes the album strong. CD features a whopping 29 tracks in all – way more than any other issue of music from the film – with titles that include "Non Fare L'Indiano", "Sfida All'Ultima Forchetta", "L'Ultima Tromba", "Tanti Pugni", "Occhio Alla Pena", "Passagio Dal Male Al Bene", and "Dal Sarto". CD

A landmark record – not only in the history of the western, but in that of Ennio Morricone! The soundtrack, written for this hit Clint Eastwood spaghetti western, is everything you'd want in a 60s western – driving orchestral passages, twanging guitar parts, and spooky little bits that isolate the mood of a scene nicely. The work's an instant classic, and is still one of Morricone's strongest western soundtracks – even if it is one of the most familiar. This expanded Italian version features 17 tracks in all – including some rare mono and stereo mixes – and titles include "Quasi Morto", "Musica Sospesa", "Senza Pieta", "Tortura", "Alla Ricerca Dell'Evaso", "Consuelo Baxter", and "Ramon". CD

A killer Morricone soundtrack from the late 60s – filled with sweet tunes and moodier numbers – all served up with cool orchestrations, and some sweet work on electric harpsichord too! The score's lesser-known than some of the maestro's best from the time – but is equally great, and one we're very happy to discover – caught at a mode that still has Morricone using some of his best mod elements from the 60s, yet also beginning to explore the darker sounds that would unfurl even more strongly in the 70s! Bruno Nicolai conducts the group, and the set features a few great vocal moments from I Cantori Moderni – on titles that include "Scherzo Da Guerra", "Scherzo Da Baffone", "Filastrocca Per Cretini", and "Lo Sai Che Cosa Facevano Le Donne A Stalin". CD

A killer Morricone soundtrack from the late 60s – filled with sweet tunes and moodier numbers – all served up with cool orchestrations, and some sweet work on electric harpsichord too! The score's lesser-known than some of the maestro's best from the time – but is equally great, and one we're very happy to discover – caught at a mode that still has Morricone using some of his best mod elements from the 60s, yet also beginning to explore the darker sounds that would unfurl even more strongly in the 70s! Bruno Nicolai conducts the group, and the set features a few great vocal moments from I Cantori Moderni – on titles that include "Scherzo Da Guerra", "Scherzo Da Baffone", "Filastrocca Per Cretini", and "Lo Sai Che Cosa Facevano Le Donne A Stalin". CD

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A very groovy early soundtrack by Ennio Morricone – done with a fantastic sound that's made even more wonderful by vocal work from I Cantori Moderni – a hip vocalese group that's kind of the Italian version of The Swingle Singers! The group has sung more famously on soundtracks by Armando Trovajoli – but they sound pretty darn great on this one, leaping along wonderfully over some spy-like themes that often resonate with some 60s mod touches! Morricone's music is often jazzy, and pretty groovy at times too – giving the set a 60s swing that's completely sublime. The structure of this reissue differs greatly from the one on Dagored – as it features 23 shorter tracks – including some previously unreleased numbers – all variations on the "Slalom" and "Sestriere" themes, with sub-headings that include "Una Sera In Albergo", "Marcette Grottesche", "In Pericolo", "Titoli Versione Film", "Un Omicidio Misterioso", "Sperduto A El Cairo I", and "Incontro Magic III". CD

A really lovely later score from Ennio Morricone – done for the final film of Marcello Mastroianni, and with a subtle sense of grace that echoes some of his best from earlier years! Much of the music has a lean focus that's different than some of the larger, lusher scores that Morricone was giving bigger pictures on the global scene – and there's a nice balance of isolated instrumentation, occasional atonal moments, and even great use of female vocals in an old school way – sung here by Dulce Pontes on two tracks. Most of the selections are much longer songs than standard film cues – and titles include "Assassinato", "Chitarre", "Il Simbolo", "A Brisa Do Coracao", "Rotativa", and "Manifestazioni". CD

A really unique little record – one that's a revelation both to lovers of the music of Ennio Morricone, and fans of the sci-fi TV classic Space 1999! The program was famously scored by Barry Gray – in a sweet 70s variation of the best Brit TV modes – but here, the music is provided by Ennio Morricone – who created his own music for a special cinematic release in Italy – sounds that didn't get any global circulation at the time, and which are quite unknown to longtime devotees of the program, too! Morricone's music is extremely moody – an unusual blend of avant jazz, electronics, and other offbeat touches that are lifted from his horror work, but then abstracted in a very different way – and used here in some of his most striking sounds since his performances with the Gruppo D'Improvvisazione Nuova. CD features 70 minutes of music in all – a great discovery – and titles include "Eletronica #1", "Parallasse", "Suoni Di Una Nuova Civilita", "Interposione", "Studio", "Follia Nello Spazio", "Fasi", and "Elettronica #4". CD

An obscure Morricone soundtrack, but a great one too – done with a slinky, seductive feel that's totally great – and often a bit different than his early 70s classics! Many of the numbers here have a warm glow – a sound that's never too polished, but more in the erotic side of the Morricone spectrum than the spooky one. And a few cuts feature some nice instrumental touches that really stand out – like jazzy flute, blue-tinged trumpet, and even some of those great "boing" noises that used to show up in Ennio's western scores from time to time! Titles include "Una Bossa A Cena", "Per L'Amore Si Fara", "Mezza Luce", "E Mejo De Mori Che Resta Qui", "Per Annabella", and "Una Famiglia Povera". CD

Early darkness from Ennio Morricone – an obscure mid 60s action thriller that combines boldly driving numbers with other tunes that slip into some of the spareness of his work for westerns! The work here is as mod and cool as you might guess from the cover – a bit more in a conventional 60s soundtrack mode, but still touches with great inflections on the woodwinds, and undercut by plenty of great lines on electric bass, guitar, and organ – all used sparingly but really effectively against the larger orchestrations! Tracks are often short, but really evocative – given a nice punch by Bruno Nicolai, who conducted the orchestra for the recording. A few tunes feature vocals by I Cantori Moderni – and titles include "Una Stanza Vuota", "Un Uomo Solo", "Colpo Alla Gioielleria", "La Prima Vittima", "Sul Lago Di Lugano", and "Una Tromba A Dallas". CD

One of the first big moments of global fame for the legendary Ennio Morricone – and a record that still stands as one of his landmark albums all these many years later! The set's famous for its haunting theme – that "wah-wah-wah" melody that led to countless covers and samples over the years – but the whole thing's a lot more complex than just that tune – with lots of the same sense of space and brooding that Morricone brought to his music for Once Upon A Time In The West – with careful use of key instruments on a track by track basis, and these floating lines that almost signaled a whole new way of recording music for a film soundtrack. And yes, there's certainly key western elements like guitar or harmonica – but maybe more striking are all the points at which these obvious tropes disappear – to leave us with those really unique Morricone sounds that go way beyond music! Titles include "The Sundown", "The Good, The Bad, & The Ugly", "Marcia", "The Desert", "The Strong", and "The Trio". CD

A really fantastic score from Ennio Morricone – maybe better this time around than the images on the screen for some of his other westerns of the period – more proof that the maestro was always willing to rise above, and give his best no matter what the setting! / Ennio Morricone's beautiful score to one of the beautifully shot films of the 70s, or all time, really – Terrence Malick's legendary Days Of Heaven – the original 1978 soundtrack album and Morricone's cues programmed separately on one disc plus a bonus disc of extended score material and more bonus tracks! It's gorgeous stuff, from Morricone's haunting "Main Theme" and his more classically enthralling sounds, as well as the rootsy folk guitar by Leo Kottke and and equally swampy fiddle dance number by Doug Kershaw. CD

A really unusual soundtrack from Ennio Morricone – one that's from the start of the 80s, and which has some sweet electric touches used alongside some of his more familiar modes! There's a bit of funk at the start, which heralds some of the less conventional instrumentation for the maestro – yet tunes still then follow that sense of slowly unfolding, flowering melody that can make his work so great – all the classic Morricone modes we love so much, but given a nice twist as well! The change is a great one – especially as at this moment, Morricone was moving into much larger orchestrations for bigger global films – and the set also features a bit of vocals from Nora Orlandi, and work from Alessandro Alessandroni on one track too. CD

Morricone fans – this one's got it all! The music is completely wonderful throughout, and a great mix of everything that makes Ennio Morricone so tremendous – a bit of bossa here, some funky bits there, and even some spookier slow passages with a nice atonal feel! The main theme of the record is more than enough to get us going – a wonderful tune with wordless female vocals in the best Mondo Morricone mode – but other instrumental tracks follow with some very cool, slow moments – including some great love themes which then lead to some beefier, bouncier numbers that are really great too. This limited 2CD version is great – with a total of 24 tracks that include "La Lucertola", "Magia Nera", "Giorno Di Notte", "Spiriti", "Ancora Ad Est", "Sfinge", "Spostato Ad Est", and "A Lucio Fulci". CD

One of the most haunting Morricone soundtracks ever – and one of the grooviest too! The album's a perfect blend of our two favorite styles of Morricone work – that of the floating female vocal over a gentle groove, and the darker, tenser side of his music. The main "Verushka" theme is one of his most beautiful – a variation of female vocals with a gentle edge, in the tradition of classic soundtracks like La Donna Invisible or Le Photo Proibite. This theme shifts from mood to mood over the course of the LP, occasionally giving way to some more atonal passages and other more jazz-based tunes – more of which are included here than on the original release, thanks to an expanded reissue job by Right Tempo! In fact, the whole thing's bubbling over with great music – one of the best Morricone reissues we've ever stocked – done with great sound and a huge array of extra tracks! Titles include a number of takes on the "Verushka" theme, plus "Astratto", "La Bambola", "Le Fotografie", "Magia", "La Spiaggia", and "Dopo L'Intervista". CD

As any reader of these pages will know, we're nuts about Ennio Morricone – the greatest Italian soundtrack composer ever, and quite possibly one of the greatest composers to have ever walked the face of this planet! Here, a similarly Morricone-mad bunch of folks pay tribute to the maestro, by remixing tracks from his classic soundtracks of the 60s and 70s! Titles include "The Man With The Harmonica" by Apollo Four Forty, "Chi Mai" by Nightmares On Wax, "Giocoso, Gioioso" by Groove Corporation, "La Bambola Come Maddalena" by Sofa Surfers, "La Lucertola" by De Phazz, "Clan Of The Sicilians" by DJ Dick of Rocker's Hi-Fi, "Il Grande Silencio" by Thievery Corporation, and "Belinda May" by Fantastic Plastic Machine. 13 tracks in all! CD

Director Quentin Tarantino has drawn plenty of inspiration from the music of Ennio Morricone over the years – either using short passages of older Morricone music in his films, or evoking the substance and style of the maestro in the way he uses sounds from other sources too! So it's only fitting that this time around, the pair are finally brought together fully – as Morricone turns out one of his best soundtracks in years for Tarantino's Hateful Eight – a brooding, suspenseful tale that owes plenty to the western generation that first sprung Morricone to global fame! Yet as with most of Ennio's best work, the style here is something that goes far beyond expectation – orchestrations that take on a style completely their own – with instrumental elements that have stronger focus amidst the larger charts, and a sense of mood and color here that's completely sublime. The record is mostly music from Morricone – written for the film – and features a few passages of dialogue from the movie, plus just a few additional tracks by The White Stripes, Roy Orbison, and David Hess. Yet it's more than fair to think of this as a complete score by Morricone – very different than the usual compilation-style soundtracks we've had before from Tarantino. CD

A lesser-known Morricone soundtrack – written for an obscure western, but right up there with some of the maestro's best for much bigger movies! A number of tunes have that spooky "whistler" style of writing that we love from Morricone – spare whistling over darker orchestrations – in ways that create some spare and wonderful passages that are especially great! Other tracks are a bit fuller, and more dramatic – the bolder western modes of the 60s – and the set also features two vocal numbers, sung by I Cantori Moderni – that wonderful vocal group that shows up on some of our favorites from the time. Titles include "Paco", "Ricciolo", "Liberta", "Estasi", "Bamba Vivace", "Fiesta", and "Il Mercenario" – and the CD's got 16 tracks in all. CD

A dark and extremely avant garde soundtrack from the great Ennio Morricone – one that's done in collaboration with his own Gruppo Improvvisazione Nuova Consonanza – an ensemble with roots in film scoring, but expressions that are more in the mode of 20th century avant! The music is a blend of free improvisation and more straight ahead jazz – with electric guitar, trumpet, violin, and percussion mixed with lots of weird effects and electronics – much more experimental than some of Morricone's more famous soundtracks of the time, and given a nice sense of direction from conductor Bruno Nicolai. The whole thing's incredibly spooky – one of the most turgid scores we've ever heard from the pen of Morricone – and the titles include "Sequita", "Evaporazione", "Dal Sogno E Ritorno", "Folle Folle", and "Notte E Misteri". Expanded version – with 21 tracks in all! CD

Mylon LeFevre ended up on the more spiritual side of the spectrum in his later years – but here on this great early set, he manages to blend gospel roots with some great elements of southern rock and soul – all produced by Allen Toussaint, and handled with a surprisingly soulful groove at times! Mylon handles lead vocals and acoustic guitar – but he's backed by a very sharp combo who effortlessly blend influences from soul with rockish guitar lines – maybe more Capricorn Records than Cotillion, and given some additional soul touches from the backing vocals on the record from Merry Clayton, Clydie King, and Venetta Fields! Tracks are almost all originals by Mylon – and titles include "Who Knows", "Sweet Peace Within", "Trying To Be Free", "Pleasing Who Pleases You", "The Only Thing That's Free", and "Peace Begins Within". CD

A massive tribute to the music of Neu – set with three classic albums, and an exclusive double-length batch of mixes and covers too! First up is the self-titled Neu – maybe not the earliest record in the Krautrock generation, but a set that certainly set a new sort of standard after it was released! The group mix together slow-building rhythms and plenty of fuzz – all recorded by the great Conny Plank, who has a way of blending the songs and all their many elements – instrumentation put together by ex-Kraftwerk members Klaus Dinger and Michael Rother – who mostly use guitars, bass, and drums – but end up turning them into something completely different with the help of Plank! Some of the tracks are quite long, and really take a great path to find their way forward – very different than Can or Cluster, at least from an outside perspective – but equally classic. Titles include "Hallogallo", "Sonderangerbot", "Im Gluck", "Negativland", "Weissensee", and "Lieber Honig". Neu 2 follows, and continues their trademark pulsating rhythms and raw Teutonic energy – essential listening not only for its titanic importance to the minimalist rock to come – but for it's impeccable hard driving hypnotic genius that has yet to be topped by any of the followers. The album starts off with the longer piece "Fur Immer", while the rest of the album is made up of mostly shorter segments, including "Spitzenqualitat", "Super 16", "Cassetto" and "Hallo Excentrico!". Next is Neu 75 – the third album in a legendary run from Krautrock pioneers Michael Rother and Klaus Dinger – one that uses two different drummers next to the duo's fantastic spare blend of keyboards, guitar, and electronics! The sound is still nice and lean, and every bit as revolutionary as on their first two records – and the whole thing is a masterpiece in blending waves of sonic energy and pulsating rhythms! Titles include "Isi", "See Land", "Leb Wohl", "Hero", "E-Musik", and "After Eight". The set also features the two-part Tribute album – hardly the usual tribute project – as a number of tracks are remixes of the originals, blended with other very unusual takes and original material! Titles include "Im Gluck" (National rmx)", "Weissensee (Fink version)", "Negativland (Idles negative space rework)", "After Eight (They Hate Change cover)", "Lieber Honig (Yann Tiersen rmx)", "Super (Mogwai rmx)", and "Hallogallo (Stephen Morris & Gabe Gurnsey rmx)". CD

Classic Krautrock from Michael Rother and Klaus Dinger – the second album from their immortal Neu! Neu! 2 continues their trademark pulsating rhythms and raw Teutonic energy – essential listening not only for its titanic importance to the minimalist rock to come – but for it's impeccable hard driving hypotic genius that has yet to be topped by any of the followers. The album starts off with the longer piece "Fur Immer", while the rest of the album is made up of mostly shorter segments, including "Spitzenqualitat", "Super 16", "Cassetto" and "Hallo Excentrico!". 11 tracks in all. CD

That's Antonio Neves wielding a trombone on the cover – but the set's got elements that move way past his great work on that horn – drawn from very collaborative contributions from different members of the contemporary scene in Rio! The record's got a jazz basis at the core, but quickly explodes into a real style-shifting approach – that legacy of easily mixing modes that has been the hallmark of some of the most creative work from Brazil in recent decades – guided perfectly here by Neves on drums as well as trombone! Antonio sings on one track, and the record also features vocals at points from Leda, Alice Caymmi, Ana Frango Eletrico, and Marcos Esgulera – amidst a whole host of guest musicians too, including Edu Neves on flute, Leo Gandelman on alto, and Hamilton De Holanda on mandolin. Titles include "Lamento De Um Perplexo", "Forte Apache", "Simba", "A Pegada Agora E Essa", "Noite De Temporal", and "Jongo No Feudo". CD

A crime thriller, but one with a beautiful score from Bruno Nicolai – slinky and 70s at times, and with some really gentle tension at others! This is definitely one of the works that has Nicolai stepping nicely away from Morricone – using some warmer elements in some of his best themes – almost dreamy at times, which is odd given the lack of romance in the film – put together with masterful timing, and this haunting sense of space that makes the music almost better than the images were in the film! And yes, the story is that old Agatha Christie chestnut Ten Little Indians – but forget the overdone trope of the store, as the music is totally great – completely different than the more hackney 70s whodunit soundtracks of the time. CD features 18 tracks in all! CD

An early western soundtrack from Italian maestro Bruno Nicolai – presented here for the first time ever, complete with a huge number of tracks from this obscure film! Much of the work is in a tense orchestra mode – peppered with western themes, but more conventionally dramatic overall – and filled with the dark touches that Nicolai usually brought to more of his non-western work. Franco De Gemini plays stark harmonica lines on a few of the most noteworthy tracks on the album, and a few other cuts use a weirdly-tuned Jews harp to create some Morricone-like notes. CD features 28 titles in all – all lovingly remastered from the original master tapes! CD

Haunting horror work from the great Bruno Nicolai – an album that's got some wonderfully-crafted themes mixed with some lighter, breezier numbers – almost in a Rosemary's baby sort of mode! Bruno really gets to show off both sides of his talents here – and comes up with some spare and melodic orchestrations that recall his work with Morricone, mixed with other numbers that diverge into sweeter territory and dance along nicely. The set features a total of 22 numbers – nearly all of which are more redemptive than the darker horror plot of the film – and titles include "In Cantina", "Servizio Fotografico", "Minaccia", "Scoperta & Sesto Delitto", "Confronto Finale", "In Automobile", "Ufficio Vuoto", and "Terzo Delitto". CD

One of the greatest soundtracks we've ever heard from Bruno Nicolai – a wonderful array of lightly groovy tunes that's as fantastic as any of the Mondo Morricone work from the same time! The main theme of the film has a catchy La Donna Invisible sort of feel – building on waves of sound with piano over orchestrations, skipping along to an altered bossa beat – showing up in a number of different variants throughout the score. Other tracks are darker and moodier, but really vary things up to fit the moods of the scene – using Morricone-styled bits of harpsichord, violin, or strings to come up with some incredible sounds. The CD reissue features 26 titles in all – many of which are restored from the shortened versions in the movie, in a way that presents a huge amount of music never heard before! CD

Two later soundtracks from Riz Ortolani – both showing the maestro at the top of his game! Il Sole Buio has this wonderful way of gently unfolding the melody – almost Morricone-like, but with warmer tones at times – and mixed with a few electric jazz moments to offset the larger orchestrations – although the latter dominate, and really have this wonderfully rich vibe – almost a slight touch of the sort of sentiment you'd get in a French film score too! L'Angelo Con La Pistola is from the same director, Damiano Damiani, two years later – and again has some great orchestral numbers that billow and glisten with a gentle charm, mixed with a few more electric, keyboard-heavy tracks to showcase the action in the story! 21 tracks in all – and first time on CD for both titles. CD

The amazing first album from Brazilian modern musical genius Hermeto Pascoal – a set that would change the world of jazz and Brazilian music for years to come! By the time of the set, Hermeto was no stranger to the scene – he'd recorded famously in Quarteto Novo with Airto, and in some other key groups – yet this set also marks a real transformation, the rise of Pascoal as a new visionary, with endless fresh ideas for sounds, rhythms, and instrumental possibilities! And yet, the album's still very groovy – it follows nicely off the spirit of Quarteto Novo, and mixes tight rhythmic changes with all sorts of incredible instrumental inflections – work by Pascoal on keyboards and flute – augmented with drums and percussion from Airto, and a range of reeds from American jazz musicians Jerome Richardson, Maurico Smith, Joe Farrell, Jerry Dodgion, and Hubert Laws – as well as trombone from the great Garnett Brown, and trumpets from Thad Jones and Joe Newman. The mix of American players and Brazilian inspiration is wonderful – and Airto and Flora Purim produced the set – and the latter sings a bit on the record. Titles include "As Marianas", "Alicate", "Hermeto", "Coalhada", "Fabiola", "Guizos", and "Flor Do Amor". CD

Duets between two players with plenty of chops – Joe Pass on guitar and Pedersen on bass – on titles that include "Have You Met Miss Jones", "95 Blues", "Tricotism", "Old Folks", and "Quiet Nights". CD

Lovely work from one of the greatest pop groups going – and one of the few that really manage to win over our classics-styled ears! The Pearlfishers have an incredible sound that echoes with familiarity, but which pleases us even more with its freshness – an approach that makes us think "have I heard this tune before?", but then makes us smile even more when we realize that it's work by a lesser-known band who manage to fool us into thinking their a classic pop act. Strands of older styles run through the work – starting in the Sunshine Pop generation, and running through the 80s genius of Louis Philippe and early Prefab Sprout – the last of whom, at their best, are possibly one of the best comparisons here. Instrumentation includes some spare but effective use of horns and strings – all in support of the lovely lead vocals of David Scott. Titles include "Pantohorse", "My Dad The Weatherfan", "Flora Belle", "Haricot Bean & Bill", "Say Goodbye To The Fairground", "Swan Dreams", "Saddle Sore", and "I Can't Believe You Met Nancy". CD

The sound of the trio is loud and clear on this set – captured before a very appreciative crowd at the London House in Chicago, and featuring Peterson at his inventive best! The tracks on the set stretch out longer than most of the group's studio sessions from the time, and the album's recorded in a great way that also includes Oscar's mumbling at the keys – that humming and grunting style that isn't always caught on record, but which adds a great deal of grit and humanity to the record – especially considering his fluid grace on the piano! As usual, Ray Brown is on bass and Ed Thigpen's on drums – and titles include "Tricotism", "On Green Dolphin Street", "Thag's Dance", and "Kadota's Blues". Includes 5 bonus tracks. CD

A tremendous little record, Bursting Out has Oscar Peterson really pushing the fuller, stronger sound he started with his trio of Ray Brown and Ed Thigpen – a set that features additional backings by Ernie Wilkins behind the core sound of the piano combo! The mode here is in that "all soul" style of Peterson's huge-selling Verve albums from the time – but the addition of a larger group makes for a mode that's even fresher – because Oscar rarely used any larger backings, so the record's a real standout! Hearing the strength of the tracks, we're a bit surprised that Peterson never made more albums like this – because there seems to be added inspiration from Wilkins' presence, giving Oscar even more focus and drive on his solos. A rare outing, but a great one – with titles that include "Blues For Big Scotia", "Tricotism", "Manteca", "I'm Old Fashioned", "West Coast Blues", "Here's That Rainy Day", and "I Love You". CD

A split album that combines work from 2 different early 10" LPs on Bethlehem – both led by some of the best bassists to record for the label at the time! The first 6 tracks are classic work by Oscar Pettiford – some of his best as a leader, and cut with a hip group that includes Charlie Rouse on tenor, Duke Jordan on piano, and Julius Watkins on French horn. The tracks swing nicely with a strong modernist bop influence – and titles include "Cable Car", "Tricotism", "Oscar Rides Again", and "Golden Touch". The other 8 tracks are a bit mellower, but still quite modern – and with a really fresh approach. Recorded by Vinnie Burke's quartet, they feature a very unusual lineup of bass, clarinet, accordion, and guitar – the latter of which is played by the enigmatic Joe Cinderella, of Gil Melle group fame, and who gives the record a similar feeling to Melle's strange work for Blue Note. Titles include "For All We Know", "Time Out", "On The Alamo", and "Softly As In A Morning Sunrise". CD

One of the first great soundtracks we ever heard from Piero Piccioni – and still one of the best! Colpo Rovente has this really special sort of sound – jazzy, but not really jazz – bassy, but not really funky – and often done with spare, stark sounds – but never in a way that's too atonal or horror-based either! Piccioni brought a really special sort of genius to the record – a way of using each instrument with a very unusual sound or tuning – and isolating each element in just the right way, but with a different style than that used by Morricone at the time. Some tracks get nice and groovy, but lots more hang back in a style that's almost pensive – and titles include "Kintabu", "Colpo Rovente", "Easy Dreamer", "Chinatown Drugs", and "LSD". CD features 12 bonus tracks – all unreleased alternates! CD

A relatively late score from the great Piero Piccioni – and one that avoids some of the too-cheesy modes that had crept into Italian film scoring at the start of the 80s – as, if anything, Piero is even more sensitive and thoughtful than before – and does a great job of using older acoustic instrumentation in these really beautiful ways! There's strings on the set, used in spacious ways – often with the minimal effort of Morricone, but mixed with some of the warmer ideas of Luis Bacalov at the time – on themes that all spin off the main title, but shift out solo instrumentation – from piano, to guitar, organ, harp, and other instruments along the way. CD

A very rare slice of work from one of the hippest Italian soundtrack composers of his time – presented here with a huge amount of tracks that have never been released! Piero Piccioni scored the musico for the TV show L'Alba Dell'Uomo in 1975, and the work was hardly released outside of Italy – making the sounds within a very obscure chapter in the very storied career of the composer. Tunes are mostly short, and have a blend of light woodwinds, slight electric instrumentation, and some nice exotic touches – mixed with a few more offbeat moments that you'd be more likely to find in the work of Ennio Morricone, and just a few of the groovier cuts you'd expect from Piccioni's earlier work! CD features 34 tracks in all – half of which are previously unreleased – over 70 minutes of music. CD

Enrico Pieranunzi on piano – with Kenny Wheeler on trumpet, Chris Potter on sax, Charlie Haden on bass, and Paul Motian on drums. Includes themes from "I Vitelloni", "Amarcord", "La Dolce Vita", "La Strada", and "Le Notti Di Cabiria". CD

A really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

A really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

A great date that's almost as noteworthy for the presence of Ronnie Cuber on baritone sax and flute as it is for that of leader Enrico Pieranunzi on piano! There's a really great feel to the record – one that's got some of the lighter, airier moments of Pieranunzi's other records of the time – but which also takes on a bolder, more soulful sort of feel too – especially when Cuber steps in on his well-blown baritone! A few tracks feature flute, taken slightly more lightly – but only just a bit more so – and the rest of the group features Enzio Pietropaoli on bass and Alfredo Golino on drums and percussion. Pieranunzi plays electric piano on a few tunes – and titles include "Hip Switch", "Inconsequence", "The Bluesman", "Roberta", and "The Secret Ingredient". CD

The great Italian pianist Enrico Pieranunzi is featured here in three great records! First up is New Lands – a warmly-crafted trio set from Enrio Pieranunzi – a set that still shows his modern tones on the piano, but which also has a sensitivity that really makes things open up overall! The group is a trio – with Marc Johnson on bass and Joey Baron on drums – both subtle players who really let the piano take the lead at times, as Enrico stretches out on long tracks that include "New Lands", "A Child Is Born", "The Mood Is Good", and "If There Is Someone Lovelier Than You". Daedalus Wings is an unusual record, and one that features twin piano work from Bert Van Den Brink and Enrico Pieranunzi – not on long, free tracks, but on these beautiful shorter numbers that really seem to resonate strongly with the voices of each player! Titles include "Daedalus Suite", "Si Peu De Temps", "Pour Claude", "Guitar Blues", "Woods", and "O Toi Desir" – plus two solo takes by each player on "I Can't Get Started". Improvised Forms For Trio is a really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

Enrico Pieranunzi and Bert Van Den Brink on piano. CD

Enrico Pieranunzi on piano and Paul Motion on drums. CD

Featuring Kenny Wheeler on Trumpet. CD

Enrico Pieranunzi on piano, Mark Johnson on bass, and Joey Baron on drums. CD

Enrico Pieranunzi on piano, Marc Johnson on double bass, and Joey Baron on drums. CD

Enrico Pieranunzi on piano, Marc Johnson on double bass, and Joey Baron on drums. CD

A great idea – jazz piano trio versions of Morricone soundtrack tunes, played here by Italian pianist Enrico Pieranunzi, with backing by Marc Johnson on bass and Joey Baron on drums. The team of Johnson and Baron have a perfect touch of lyricality to open these tunes up – taking lesser-known Morricone themes, and working them like jazz standards to show the depth of composition and possibilities available to the tunes. One of the great shames of Morricone's career is that he wrote so many darn great soundtracks that most of his tunes never got as much variation and acclaim as the work of other 60s soundtrack composers – and hopefully a set like this will begin to correct that! Titles include "Addio Fratello Crudele", "I Malamondo", "La Domenica Specialmente", "Mio Caro Dottor Grasler", "Ninfa Plebea", "Jona Che Visse Nella Balena", "Le Mani Sporche", "Quando Le Donne Avevano La Coda", "Il Prato", and "Just Beyond The Horizon". CD

Two very different films, both of which receive some mighty nice scoring from the lesser-known Italian maestro Franco Piersanti! First up is Il Nudo Del Ragno – a creepy film, as you might guess from the cover – but one that's scored by Piersanti with a surprising degree of sensitivity, and some very rich orchestrations that are very different than the stark, more electric modes being used in so much of 80s horror! There's some really beautiful woodwinds in the music, and some darker strings that echo 70s atonality from Morricone – on titles that include "Labirinto", "Omicidio", "Radio Jazz", "Budapest", and "Illusioni Ottiche". Next is Una Prova D'Innocenza, a film of a more serious nature, and which gets equally beautiful handling – with a blend of strings that can get very dark at times, almost with the richness of some of Morricone's global scores of the period – inflected with just the right dose of woodwinds too, matched by the occasional echoey piano line. CD features 15 tracks from the score – a real under-discovered beauty! CD

A sweetly sexy soundtrack from the great Berto Pisano – one that really lives up to its image on the cover! There's a gently grooving feel to the music that's right up there with the best erotica work from Morricone – handled by Pisano with light strings, keyboards, bits of flute, and some especially nice vocals from Edda Dell'Orso, who's definitely on the warmer side of her talents with a record like this! The tunes glide along nicely, and are supported with some great artwork from the film – and titles include "Orchestra For Edda", "Piano Dreams", "Free Hammond", "Sound For A Child", and "Voice In The Night". CD also features 11 more tracks from Carlo Savina's score to Suggestionata – an equally great 70s erotic film with a really slinky feel! Savina's music borrows a bit from older bossa modes, but also rolls in some more adult 70s styles too – the kind of sexy Sunday morning themes that always make Euro soundtracks of the time worth seeking out, even if the film itself isn't that great! CD

A warmly sensual 70s soundtrack from Italy – scored by the lesser-known Gianfranco Plenizio, but sounding like the best of the time from Morricone! The music here is often slinky and spare – flowing with a subdued sense of eroticism that's never cheesy, and which has a bit more sophistication than you might expect from the exploitative film for which it was written! Many tracks build gently, using bits of piano, or roundly rolling electric bass – never too over the top, but just enough to get things going with some subtle, but effective encouragement. A few numbers have a darker, more atonal feel – clearly the creepier moments of the film – creating the same sort of juxtaposition you'd fine in some of the better known erotic scores of this time. CD features 6 tracks that have never been issued before – a total of 21 titles that include "Requiem", "Foul Sin", "Lost Lover", "Ricordi Di Un Amore", "Grigio Perla", "Hypnosis", "Crowded Solitude", "Ghostvoice", "Sarto Per Signora", and "Voce D'Amore", which features haunting wordless vocals by Edda Dell'Orso! CD

One of the coolest, grooviest Christmas records we've heard in years – a set that's the first-ever effort from Roman Coppola's Molto Groovy Productions – and which has a mod 60s vibe all the way through! The styles here are steeped in the best Italian soundtrack modes from years back – cool keyboards, fuzzy organ, funky basslines, and lots of offbeat instrumentation that really transforms the tunes – almost as if someone like Piero Umiliani or Ennio Morricone recorded a whole album of Christmas instrumentals! The sound is perfect – even better than you might suspect from the cover – and you can take it from us, as we're not easily fooled by "fake" retro projects – and really tip our hat to these guys for getting the instrumentation, arrangements, and production just right. Most titles are familiar songs, but done in very unusual styles – and tracks include "Santa Claus Is Coming To Town", "Joy To The World", "Jingle Bells", "Sleigh Ride", "Feliz Navidad", "Little Drummer Boy", "Silver Bells", and "Have Yourself A Merry Little Christmas". CD

A naked woman in a giant hand? They've already got our attention – and we haven't even heard the music! Fortunately, the music is every bit as great as you'd guess from the cover – the best sort of slinky Italian soundtrack, served up in a mix of haunting melodies and really offbeat sounds that never fail to delight! Keyboards and woodwinds find a similar sense of space as in the music of Ennio Morricone – and despite the nudity on the cover, the overall sound is never too cheesy or too oversexed – just perfectly balanced between lightness and dark, in a sublime blend of instrumentation and production! CD features 23 tracks in all – nearly 75 minutes of music! CD

One of Enrico Rava's more over-the-top albums – recorded with a full-on trumpet sound that reminds us a bit of Freddie Hubbard in early CTI years, set into some harder jamming post-Miles arrangements! The backing is by a John Abercrombie on guitar, Palle Danielsoon on bass, and Jon Cristensen on drums – but you'd swear that there's a larger ensemble working away on the record, given the full sound beneath Rava's lofty trumpet solos – yet the set is really just the efforts of this core quartet, working with a surprising amount of dynamism, especially considering the ECM setting. Titles include "Bella", "Pilgrim & The Stars", "Pesce Naufrago", "By The Sea", and "Blancasnow". CD

A totally wonderful early project from trumpeter Enrico Rava – very different than just about anything we've ever heard from him, as the record's bubbling over with joy and life, and seems to encompass a globe's worth of influences! Rava's trumpet gets plenty of showcase in the set, amidst instrumentation that changes up wonderfully throughout the course of the album – an ever-shifting array of electric and acoustic instruments, with plenty of added percussion at the bottom, and nice use of bandoneon on a few tracks too! Yet that's only the tip of the iceberg – as the record has so much going on, it's a bit hard to put in words – yet all of it makes wonderful sense, too – on titles that include "CT's Dance", "Lingua Franca", "Giromondo", "El Samba Graciela", "Pupa O Crisalide", and "Tsakwe". CD

Features Enrico Rava on trumpet and flugelhorn – with Augusto Mancinelli on guitar, John Taylor on piano, Furio Di Castri on bass, and Bruce Ditmas on drums! CD

Features Rava on trumpet, Stefano Bollani on piano, and Paul Motian on drums! CD

One of the most obscure albums ever recorded by Italian trumpeter Enrico Rava – and one of the greatest as well! The set is a rare meeting between Rava and some key players on the Argentine scene of the mid 70s – a great quartet that features Fernando Gelbard on Fender Rhodes, Adalberto Cevasco on bass, Nestor Astarita on drums, and Chango Faras Gomez on percussion – all working with Rava in a groove that's maybe warmer and more soulful than both his spacious and more experimental sides recorded in America and overseas! We always love Gelbard on Rhodes – and his work here really adds a lot to the record – never dominating, but always shaping the sound and forming the rhythm patterns – while Rava soars out with some open, well-placed solos. Titles include "Chico", "Ate Um Dia", "Barco Hasta El Cielo", and "Enrico Seis Octavo". CD

The lofty trumpet of Enrico Rava is a perfect match for Dino Saluzzi's wonderfully airy performances on bandoneon – and this record is one of the lost gems of late 80s ECM. The sound definitely has that "bordering on wallpaper" feel fo a lot of the ECM work from the time, but Saluzzi's bandoneon has a breathy emotive quality that works against the usual formula, and Rava's solos help the entire project along tremendously. Titles include "Le But De Souffle", "Minguito", "Luna Volver", and "Tiempos De Ausencias". CD

Features Enrico Rava on trumpet and flugelhorn, and Ran Blake on piano. CD

Stefano Bollani on piano and Enrico Rava on trumpet. CD

A lost treasure from the Swamp Dogg universe of the early 60s – and one of the first albums to ever feature the vocals of Charlie Whitehead too! Charlie works here as a Swamp Dogg protege – and Swamp arranged, produced, and wrote most of the tracks on the record – with that great deep soul style of his own early gems! The vibe here is more straight ahead, with less of the gimmicks or jokes of Swamp's music – but we mean that in a good way, as Charlie really shines as a singer of southern soul – working here in the Capricorn studios down in Macon. At times, the set has a lot more overt politicism than your average southern soul album from the time – especially on tracks like "Call Me N_gger" and "The Freedom Under Certain Konditions Marching Band" – and oher tracks include "I Dig Black Girls", "Who Do They Think They Are?", and "Sweet Bird Of Success". CD

A searing live performance from Sam Rivers – never issued before, and recorded as one non-stop improvisation with a really amazing trio! Rivers plays tenor, soprano, flute, and piano – and the record is a great example of the constantly creative energy that he can bring to the fold – especially when working with Dave Holland on bass and Barry Altschul on drums – two players we've always loved, but who we're still blown away with in the company of the leader! The energy here matches classic 70s Rivers records on Impulse and Horo – and the single long improvisation, titled "Ricochet", runs for 52 minutes in length. CD

Max Roach continues the fine line of work with his fresh-voiced quartet of the early 80s – a very hip group that features a young Odeon Pope on tenor, plus Cecil Bridgewater on trumpet and Calvin Hill on bass! The work's similar to Roach's quartet sessions of the late 70s, although perhaps a bit more introspective – not as bouncing and joyous as when Billy Harper was with the group, but still freshly modern, and a good indication that Max continued to grow strongly as a player during the time – never content to just rest on his good name from the old days, and always forging forward into fresh jazz territory. Titles include "In The Light", "Good Bait", "Tricotism", "Henry Street Blues", and "Ruby My Dear". CD

These guys already had our attention the moment we looked at the back cover – and noted that they were playing songs by Phil Cohran, Sun Ra, and Kalaparusha Maurice McIntyre – then they really won us over once we heard the very first few notes of the set! The group's only a quartet on most tracks, but they've got a sense of majesty to really live up to the music – definitely making magic with the roots they refer to in their name – in a lineup that features Alberto Popolla on clarinet and bass clarinet, Errico De Fabritiis on alto and baritone sax, Gianfranco Tedeschi on bass, and Fabrizio Spera on drums and percussion. There's some nice surprises along the way – harmonica, zither, and "objects" used in the performances – and there's a way of reworking avant traditions that remind us of some of the most innovative sides of the Italian scene at the end of the 80s – on titles that include "When There Is No Sun", "Karen On Monday", "Frankiphone Blues", "Devil Got My Woman", "Humility In The Light Of The Creator", and "A Girl Named Rainbow". CD

A later soundtrack in the legendary pairing of composer Nino Rota and director Federico Fellini – and a set that almost seems to have Rota picking up a few tips from his 70s contemporaries on the Italian scene! The music here is often more spare than before, and sometimes uses a key instrumental element – like a keyboard or guitar part, delivered with a languid energy that recalls work by Ennio Morricone or Stelvio Cipriani, mixed with a few other passages that have some more Rota-like melody emerging into the mix. There's an almost dream-like quality to the whole record, making it one of Nino's most striking from the 70s – and titles include "L'Uccello Magico", "Canto Della Buranella", "The Great Mouna", "Ricordo Di Henriette", "O Venezia Venaga Venusia", and "La Poupee Automate". Great pressing – with a huge amount of bonus material not on the original! CD

Music from La Dolce Vita, 8 1/2, and Le Notti Di Cabiria . CD