Arena Concerto Soundtrack CD

Arena Concerto Soundtrack The whistling trill that opens the main theme to THE GOOD, THE BAD & THE UGLY is so familiar as to be a cultural touchstone. Even an abbreviated sound byte of the theme is enough to conjure images of desolate desert plains, rolling tumbleweeds, and a cowboy-booted figure standing ominously in the distance. These images come from Sergio Leone's "spaghetti" Westerns (so called because they were shot in Italy), while the sounds--created to aid Leone's existential narratives--are the work of the legendary Ennio Morricone. Along with Bernard Herrmann and Nino Rota, Morricone is one of the most successful, accomplished, and well-known film composers of the 20th century. Like much of his work, the soundtrack to THE GOOD, THE BAD & THE UGLY utilizes unconventional instrumentation. Peculiar vocal calls, clanging auxiliary percussion, and electric guitars (which often employ a Dick Dale-like surf twang) trade off with a full complement of strings. The music is startlingly eclectic, moving from folk melodies to avant-garde dissonance to plaintive ballads to delicate ambience. Although the range of his career output is formidable, Morricone is perhaps best known for the soundtrack to this allegory of Civil War lawlessness, and it remains one of his finest achievements. Additional Tracks Composer: Ennio Morricone . Audio Remasterer: Mark Chalecki.

Arena Concerto Soundtrack On UNSPEAKABLE, Bill Frisell blends his distinctively lush, cerebral guitar style with the easy feel of his 1990s Americana-themed albums and a bit of the avant-garde sensibility of his '80s work, while never directly referencing either of these phases. In fact, the overall sound of UNSPEAKABLE is something new for Frisell--with a few notable exceptions, the record leans toward groove-heavy jams. The presence of horns, Adam Dorn's synthesizer, and the 858 Strings (a violin/viola/cello trio employed throughout the album for accent and effect) brings to mind, at times, the orchestrated, cinematic funk of '70s-era Isaac Hayes ("White Fang"), and, at others, '60s lounge music ("Del Close"). But this is not to say that Frisell has discarded his trademark avant-chamber sensibility. On "D. Sharpe" and "Gregory C.," he creates deeply introspective, atmospheric pieces with help from the 858 Strings and Hal Willner's turntables and samples. Experimental (albeit groove-based) sounds wind through "Stringbean" and the unsettling murmur of "Old Sugar Bear." Overall, the combination of soulful grooves and exploratory impulses, superb arrangements, and fine musicianship (with Frisell's trademark pyrotechnics lending both sophistication and edge) makes UNSPEAKABLE one of the most musically integrated and modern albums of the guitarist's career. Recording information: Adam's Place, NY; Eric's Place, LA; Jarvis Recording, New York, NY; The Village, North Hollywood, CA. Editors: Eric Liljestrand; Adam Dorn. Illustrator: Noah Woods. Personnel: Bill Frisell (guitar); Bill Frisell; Tony Scherr (guitar, bass guitar); Jenny Scheinman (violin); Eyvind Kang (viola); Hank Roberts (cello); The 858 Strings (strings); Briggan Krauss (baritone saxophone); Curtis Fowlkes (trombone); Hal Willner (sampler, turntables); Steven Bernstein (trumpet); Adam Dorn (synthesizer); Kenny Wollesen (drums); Don Alias (percussion). Audio Mixer: Eric Liljestrand.