Ennio Morricone is the featured composer this week. One CD I highly recommend is the soundtrack music from “We All Love Ennio Morricone.” All cuts are not equally good so be prepared for an uneven collection of music. “Once Upon A Time In The West” is worth the price of the CD and it is found on both recommendations. A second CD is Yo-Yo Ma Plays Ennio Morricone. This CD may have the edge between the two.
“Being a very long time ‘Tallica fan, I would lie if I said their track wasn’t the main reason I’ve got the album in the first place. However, as any other music lover, I did look forward at other music that could have been interesting. And it does appear on this tribute. Yo-Yo Ma’s track was enjoyable, Fleming’s track too, so were 3 new tracks Ennio threw in for the additional pleasure.
All in all, the album is interesting because it has a good vibe of appreciation of the maestro. Therefore, I would recommend it to anybody, who knows Ennio’s work and to others beyond.
As of Metallica track. It is nothing of a surprise, because the original song is very well known, and the cover is the true Metallica cover. It sounds very fresh, with little nice guitar solo tweaks, it feels like the guys are in their 20’s again, it is done with the same ‘not-too-serious’ attitude as Garage days where done back in 87. It made me feel good, and that’s what matters.”
Here is another “Amazon review” of the Yo-Yo Ma recording.
“Ennio Morricone’s sense of melody is unsurpassed not only in the world of film, but in Art music and Popular music as well. From the mid-1960’s on, when Morricone wrote devastating, original scores for Sergio Leone’s spaghetti westerns, Morricone’s ability to combine classical melodic lines with grunts, whistles, electric guitars and drums often surpassed the films he scored. His music, unlike most film composer’s, adds new layers of meaning onto whatever images flash by.
Yo-Yo Ma’s melodic feel matches Morricone’s evocative melodies; I would have never imagined the cello being an effective vehicle for a Morricone transcription, but now that I hear Ma playing, I hear how obvious and how perfect the congruence sounds. The richness of Morricone’s later scores – Cinema Paradiso – The Mission – The Untouchables surround me with a palpable presence that outlives the echoes of the the film’s images.
My personal favorite of Morricone’s work has always been “The Good, the Bad, and Ugly,” and while Ma only plays one selection, the piece he chose, “The Ecstasy of Gold” makes up for the lack of other music from the film. The tense theme works around a circular four note statement that grows and grows in intensity and speed, eventually accompanied by drums and full orchestra, until Ma’s cellos fills the room with urgency, greed, and violence.
I can’t recommend this CD too highly for lovers of Ennio Morricone or Yo-Yo Ma.”