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performed: calibro 35
composers: various composers
label: cinedelic
release date: 2008
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| tracks |
| 01. Italia
Amano Armata (from Italia A Mano Armata)
Performed by Calibro 35, Composed
by F. Micalizzi
02. Summertime Killer (from Ricatto
Alla Mala)
Performed by Calibro 35, Composed
by L. Bacalov
03. Notte In Bovisa (Original
composition)
Performed by Calibro 35, Composed
by Calibro 35
04. Titoli (from Indagine Su Un
Cittadino Al Di Sopra Di Ogni Sospetto)
Performed by Calibro 35, Composed
by E. Morricone
05. Milano Calibro 9 Bouchet Funk
(from Milano Calibro 9)
Performed by Calibro 35, Composed
by L. Bacalov
06. Trafelato (from Giornata Nera
Per L'Ariete)
Performed by Calibro 35, Composed
by E. Morricone
07. Una Stanza Vuota (from Svegliati
E Uccidi)
Performed by Calibro 35, Composed
by E. Morricone
08. La Mala Ordina (from La Mala
Ordina)
Performed by Calibro 35, Composed
by A. Trovajoli
09. La Polizia S'Incazza (original
composition)
Performed by Calibro 35, Composed
by Calibro 35
10. Preludio (from Milano Calibro
9)
Performed by Calibro 35, Composed
by L. Bacalov
11. Gangster Story (from La Polizia
Incrimina, La Legge Assolve)
Performed by Calibro 35, Composed
by G. & M. De Angelis
12. Spiralys (soundlibrary)
Performed by Calibro 35, Composed
by D. Casa
13. Shake Balera (from La Ragazza
Con La Pistola)
Performed by Calibro 35, Composed
by P. De Luca and V. Tommaso
14. L'Appuntamento (from Tony
Arzenta)
Performed by Calibro 35, Composed
by B. Lauzi, R. & E. Carlos |
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| further information |
| Group components Luca "Nano" Cavina:
Bass Guitar
Enrico Gabrielli: Organs and Horns
Massimo Martellotta: Electric and Lapsteel Guitar
Fabio Rondanini: Drums and Percussions
Tommaso Colliva: Sounds and Research |
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| description |
Calibro 35:
Its size, its dimension, its calibre is exactly 35 mm, that
is the film format used to screen movies in cinemas.
You immediately guess that this musical project gets its lifeblood
from the soundtracks of those movies where calibre 9 and 38
guns shoot their bullets to mark a kind of cinema which outlines
a true picture of Italy and its political and social scene in
that peculiar period of the 70's, in the years of kidnappings,
slaughters, street violence and robberies... years where the
terrorism was at its height.
This sharp, direct, tough and genuine mark defines several movies
by different directors such as Enzo Castellari, Alberto De Martino,
Marino Girolami, Stelvio Massi, Sergio Martino, Romolo Guerrieri
and concerns also some more politically committed movies by
Elio Petri and Carlo Lizzani, and namely all of those directors
who gave their personal interpretation of the detective film
genre from the very beginning, when it got little attention
from the film critics reviews, but a massive and enthusiastic
popular feedback.
Maurizio Merli, Tomas Milian and Luc Merenda become the icons
of a kind of cinema that breaks the box office.
Gunfights and cracking pace chasings are supported by the overwhelming
and all-involving soundtracks by Franco Micalizzi and the De
Angelis brothers and by the most famous Stelvio Cipriani, Luis
Bacalov, Armando Trovajoli and Ennio Morricone, who, ranging
from jazz to funky, from psychedelic to progressive rock, signed
off the Italian film production sheet music that reached the
top and stood out in the world as an example of Italian excellence.
The Italian detective film genre or, as it was soon called Poliziottesco
in order to underline the fact that the key role character was
the protagonist policeman ready to revenge and take the law
into his own hands, was snubbed and was very unpopular amongst
the critics and therefore at the end of the 70's and in the
80's run out completely after some titles that became a real
parody of the genre with comic and grotesque features.
In the 90's the music phenomenon born and grown up under the
fertile star of the so-called Lounge Music brings back to fashion,
amongst many other things, the soundtracks of italian's movies.
The police films end up in this big pot only in occasional events,
maybe because of the fact that its soundtracks have got just
a little Lounge feeling.
Only due to the fact that Quentin Tarantino got off to Venice
Film Festival in 2004, the interest for this fervid production
has been revived:
as a matter of fact, our police films got a much better appreciation
in the States than in Italy.
From this time on, DVD editions and TV screenings of these detective
films followed one after the other and consequently even one
part of the record market got interested in them by re-publishing
their soundtracks, bringing to light a relevant share of our
production of high quality movies' themes, which has been left
unpublished until then.
The interest has been extended to several musicians and DJs
who paid extensive tributes to our soundtracks with covers and
the usage of samplers.
But Calibro 35 ventured into a wider and more interesting project:
a project that begins in the studio and ends in a sort of 'concept'
album, covering the themes and the atmospheres of the detective
films' soundtracks with a personal interpretation, extremely
precise and heading for improvisation, with a special care to
noises, in particular in tracks such a Trafelato and Indagine
su un cittadino al di sopra di ogni sospetto (Investigation
of a Citizen Above Suspiciuos), which have been both signed
off by Ennio Morricone, a true master in terms of adding noise
to the music.
Tommaso Colliva, with his enthusiasm, succeeds in involving
his friend Massimo Martellotta, who has always been fond of
film music too. In this way, Calibro 35 begins to take shape
with the latest addition of eclectic Enrico Gabrielli, Luca
Cavina, who looks after the most violent tracks and Fabio Rondanini,
thanks to who the band can easily move along funk, rock and
improvisation.
It turns out an original project having its strengths in the
very successful attempt of actualizing some of the best tracks,
such as the unpublished shake of Milano Calibro 9 and the opening
credits of La mala ordina, keeping alive its original spirit,
that kind of spirit which has often been lost because they usually
prefer to use existing music for films, despite what happened
in the 70's when the composer started to write his tracks after
watching the filming or even before, after reading the screenplay
and sometimes getting to the point to influence the director.
With this precise attitude Calibro 35 ventures into two original
musical pieces such as Notte in Bovisa and La polizia s'incazza
restoring that peculiar mark of the Italian detective films,
which differentiates them from the American ones, even if they
have often been influenced by them.
Calibro 35 is a delicious album for all the lovers of this
genre (listening to it all in one go can bring you to review
all the best films or you can imagine a new film with new
scenes never seen before) but not only this:
it is an album talking to a wider audience, provided that
you like that kind of music played in an intense and passionate
way. (Antonella Piroli) |
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