Ennio Morricone -- "Le Foto Proibite Di Una Signora Per Bene" OST, Vinyl, LP, Album, 1970/2014 (Dagored)

The genius of Ennio Morricone's score for "Le Foto Proibite Di Una Signora Per Bene" is the mixture of easy listening samba beats with threatening orchestration that something bad is going to happen around the corner.  Morricone is a master of tension being built up, and then the blissful melody or beauty arrives. Featuring the eternal vocals of the great Edda Dell'Orso, this is one of the important soundtracks by the Italian master.  As I have written before, I think of Morricone as one of the great composers of the 20th-century.  Here he also orchestrated the music as well as writing the score and incidental music for the film. 

Ennio Morricone "Veruschka" Album, OST, 2 x Vinyl (Dagored)

The ultimate Italian/Euro swinging set of melodies by Ennio Morricone, which is the soundtrack to the 1971 documentary "Veruschka - Poesia Di Una Donna." Veruschka was the first supermodel, and here, the music matches her beauty. The film is forgotten (unless your Tarantino) but the music is iconic and beautiful in that it conveys a textural Brazilian motif, yet, clearly Italian. The album features the breathy vocals of Edda Dell'Orso, who is the ultimate singer for Morricone. She comes off as Yma Sumac but even in a more mysterious landscape. This is a double-album vinyl set, and it is the first to be the complete soundtrack to the film. A must for the exotica fan, as well as anyone who appreciates the genius of Ennio Morricone.

Ennio Morricone with Joan Baez - "Sacco & Vanzetti" OST, LP, Album, 1971 (RCA)

An incredible score by Ennio Morricone with substantial assistance from Joan Baez on the theme song "Here's To You" as well on Part 1,2, and 3 of "The Ballad of Sacco & Vanzetti."  This is an album that is both lush with full orchestration as well as electronics and effects, from various members of Gruppo di Improvvisazione Nuova Consonanza, the free-form experimental band that consists of Morricone as well as a few of the musicians here Walter Bianchi, Gastone Chiarini with the vocal group I Contori Moderni arranged by Alessandroni.

I have never seen "Sacco & Vanzetti" so I can't comment on how the music is used in the film, but the album is very consistent with the music sung by Joan Baez (who also wrote the lyrics) and the experimental pieces.   I never heard Baez sing in such a modern or borderline avant-garde format, which reminds me of when Bryan Ferry or David Sylvian sings over electronic abstract mood music.  "The Electric Chair" with Sinket played by Walter Bianchi is a sound that one can imagine will go with the executioner's 'hot' chair.   There is a sense of sadness that runs through the album, and the relationship between the 'pop' "Here's To You" mixed in with something like "Electric Chair" is a startling exploration between the melody and ambient sounds.

Ennio Morricone - "Le Clan des Siciliens" Vinyl, LP, Album, OST, Reissue, 2010 (Vadim Music)

Listing a favorite Ennio Morricone original soundtrack album is impossible.  His burp is a symphony of brilliance, so to choose the various sounds he made, as the best, is like commenting that a sunny day is sunny.   On the other hand, "Le Clan des Siciliens" is my favorite Morricone, and on a good clear day for my thinking and feelings, the best album of them all.   It's basically one melody that lasts for an album-length, and it's a piece of music that I never tire of. 

For those who love melodies over Morricone's more avant-garde music awakenings will appreciate "Le Clan des Siciliens" for its lushness and very sad, yet distantly romantic yearning.  Which comes to mind is that I actually met Morricone.  I was working in a bookstore in West Hollywood, and he came in to shop before his appearance at the Academy Awards later that evening.  He was going to be rewarded for a lifetime Oscar for his music.   For one, I couldn't believe I was in the same room as Morricone.  One of the fellow employees, knowing that I was a huge fan, came up to me and dragged me to meet him.  Knowing that he spoke very little English, I decided to say something grand but true to my feelings. I told him that when I die, I want the music at my funeral to be the main melody of "Le Clan des Siciliens."  He looked at me slowly and with no expression on his face said "You don't have to die."  He then whistled the entire theme of "Le Clan des Siciliens" which took about a minute or so, I think, because time stood still.  After he finished, he reached out to my hand to shake it and said: "see you don't have to die."   I look at this brief meeting as fate.  

Ennio Morricone - "Danger: Diabolik" CD, Album, OST, Italy, 2001 (Sycodelic)

Not exactly an obscure soundtrack by Ennio Morricone, but a very difficult one to obtain.  Only available as a bootleg, and always on a CD.   Seeing "Danger: Diabolik" is not that difficult in the world of the format DVD.  Still, Diabolik was a master thief who operated outside the law to do justice.  There was or is something extremely fetish about his lifestyle as well as his love life. He was devoted to his girlfriend/wife, with a sexual passion that is almost heated as his body suits, just exposing his eyes.   Influenced by Fantomas, but very much part of the James Bond world, Diabolik was also an Italian comic book.  I do have some copies that were translated into English.  A guilty pleasure of sorts, but on the other hand, Morricone's score/incidental music for the film is fun. 

If there is a hit song off this, it would be "Deep Down" sung by Christy, who I suspect was sort of an Italian Yé-Yé singer, who worked with Morricone as well as with Piero Piccioni.  The story behind the soundtrack is that the master tapes were destroyed from a warehouse fire, and what we have here is the actual music and dialogue from the film itself.  So, the quality is not that hot, and there is a lot of dialogue added here as well.  Personally, I just want the music, but I can understand that there are people out there who insist on studying the Diabolik film. 

Morricone is a composer of many styles.  "Danger: Diabolik" is the easy listening side of Morricone, a jazz tinge existence with great sound effects.   For the record, it's not my favorite Morricone score, but for those who prefer the Bachelor Pad music era, it is a must and a high point in that world. 

Ennio Morricone - "Ecce Homo, I Sopravvissuti" Vinyl, LP, Album, OST, 2002 (Dagored)

Ennio Morricone's "Ecce Homo: I Sopravvissuti" is one of his more obscure works, but of course, it's excellent.  This is more of his small orchestration with strings, some vocals, but basically a chamber work.  There is also a thumb-piano mixed in with the strings, and flute.   The Chimes gives it a slight exotica feel, but it's music that is quietly intense.  

"Ecce Homo" is a film from 1968 and directed by Bruno Gaburro.  If the film is like the music, it has to be an intense viewing experience.  Although Morricone wrote for the screen, I feel his music works just as well as an independent music piece.  I have to imagine that the works here are incidental pieces - there is no major theme music, but just a series of music that's similar or plays with the major theme.  The great Edda Dell'Orso is the vocalist, and again, her operatic touches are magical and profoundly beautiful.  In sections, I think of John Cage's prepared piano music, but I think due that the piano (prepared piano?) and thumb-piano are used in a rhythmic manner.  Also noted is the conductor, the great Bruno Nicolai.  

Dan Melchior - "Melpomene" Vinyl, LP, Album, U.S., 2017 (IDEA Records)

"Melpomene" is an album that is hard for me to forget or get off my turntable.  It's a combination of Musique Concrete with beautiful melodies running in-between the cracks of sound and mayhem.  But there are samples (I think) of piano or orchestration that is heard that gives it a moody scary vibe.  What's interesting is that one doesn't know what is going to happen around the corner.  I know nothing of Dan Melchior, but this is not an experimental album of compositions.  I think he knows exactly what he's going for.  The construction of the pieces on "Melpomene" is constructed like a fine building. The only other album that I can think of that one can 'maybe' compare this album to is Brian Eno's "Another Green World."  Melchior does not sound like Eno, but only in the sense that they share a great love of melody within what we think is an experimental music context.  Perhaps Melchior is more of a Morricone than an Eno.  I also admire the cover painting he did for the album cover.  I suspect that there is a visual element in his work, or he works things sonically that can convey a visual to a listener. 

Egisto Macchi - "E.S.P. Vinyl, LP, Album, OST, Limited Edition, 1973/2016 (Cometa Edizioni Musicali)

For those who have read my previous posts as well as my talk on Egisto Macchi https://youtu.be/rqCI97HMQxY know that I'm a huge fan of his work. I'm very passionate about Macchi's music at the moment because it's a new discovery or a new love.  Macchi is known for the music he composed for library music companies.   He was very much a close associate of Ennio Morricone, and like that great composer, they do share a sense of aural adventure.  Morricone did a lot of big budget films, and Macchi did mostly work for grade-z film productions.  Nevertheless, he was a brilliant composer.  E.S.P. is a work of stunning beauty.  

E.S.P. was an Italian TV series, and the music on this album basically plays the one theme but in different arrangements.  When I first heard E.S.P., it reminded me of the soundtrack "Twin Peaks, " in that both pieces capture a wishfulness but a sense of sinister underpinning around the corner.  The main instrument on E.S.P. is the Theremin.  Played not like a science fiction soundtrack, but more of a melodic instrument that fits in the orchestration perfectly.  The score is haunting and it's the perfect late night sound to reflect on one's life.  A superb album. 

Egisto Macchi - "ll Deserto" 2 x Vinyl, Album, LP, Limited Edition, Reissue 1974/2016 (Cinedelic Records)

Egisto Macchi's "ll Deserto" is a masterpiece.  The orchestration of all four sides is one of quiet, but mixed in with real instruments such as 'maybe' a french horn, oboe, various orchestrational string instruments as well as percussion over an electronic hum that comes in and out of the mix.  "ll Deserto" is very much a sonic portrait of a North African desert, or at the very least a desert in one's imagination.  One wonders if Brian Eno heard this album before he made his ambient classic "Discreet Music," because in parts the music is very similar, if not in style, in the mood that carries the landscape.  

The white album cover is so minimal that it makes The Beatles White Album a complex design.  Yet the cover conveys the vastness of Macchi's music within its vinyl grooves.  Nine pieces are on this double album, and each one flows into the other as natural as the wind blowing across the white sands of a desert.  The rhythm conveys an African feeling and clearly not a Southwestern Desert in the United States.    The original edition of the album came out in 1974 on a small record label based in Florance Italy called AYNA.   Macchi did a lot of music for Music Libraries, which means it is used by a film producer to pick and choose their music if they need something cheaply or quickly for a scene in their film.   Macchi is very much a soundtrack composer, but in Library Music one can make their own soundtracks to fit their own mood.  In other words, the compositions can be experimental or groovy dance tune - nevertheless, it's an area of great experimentation.   

As mentioned, "ll Deserto" can easily fit into the ambient music world, but again, one marvel at the real instrumentation of actual instruments that is a great deal of the final sound.   The music is relaxing, but it has its quiet sinister qualities as well.  A beautiful album to reflect on one's daydreams. 

Egisto Macchi - "Bioritmi" Vinyl, LP, Album, Limited Edition, Reissue (The Omni Recording Corporation)

I know little to nothing about Egisto Macchi, except that he's an Italian composer who worked on music for film and Television, and is a close associate of Ennio Morricone and is a member of Gruppo di Improvvisazione Nuova Consonanza.  I have two albums by him, including "Bioritmi," and he's exceptional.  

Originally released in 1971, and reissued/remastered by the great label The Omni Recording Corporation, "Bioritmi" is a record of great feeling and beauty.  It's noted in its informative sleeve notes that there are traces or a hint of Moondog's music within its grooves.   The music here is very much a quartet of strings and distant percussion and it does move in a circular fashion just like Moondog. It's very machine-like but done by humans.  The music builds and then slowly releases its intensity.   Listening to this I think of insects working in a hive.  It's almost a musical portrait of a society working, but not necessarily a human's approach to society unless they're watching insects building a nest and obtaining food.   A quiet album or work, but with great feeling and the clockwork of giving and releasing makes "Bioritmi" a give and take the pull as one listens.  An amazing album and the composer is a genius.  

Gruppo di Improvvisazione Nuova Consonanza - "Azioni / Reazioni 1967-1969" 5 x Vinyl, LP, Remastered, DVD, Box Set, Limited Edition (Die Schachtel)

Due to the scale of this project and just the 'oh wow' of it all, this is for sure on my top ten list of the greats from the 21st century so far.   Gruppo di Improvvisazione Nuova Consonanza (GINC for short) is a group of mostly Italian composers who got together to do improvise music.  Originally organized by Italian composer Franco Evangelisti, they have done numerous recordings and concerts throughout the 1960s.  How I discover them is all due to my music hero Ennio Morricone who is a long-term member of GINC.  

This five-disk vinyl box set captures them doing live performances that are stunning.  The music is all done on acoustic instruments, but either altered such the prepared piano (ala John Cage) or the electronic mikes on various instruments such as trumpet, sax, strings, organ, and all sort of percussion.  At times the music is pure noise, but there is a sense of construction and thought behind the playing.  In an essence, the musicians/composers are using their composing hat as they make music together.  In actuality, it is also about the relationship between these composers, and how they see music, and therefore the world. 

The box set comes with a DVD video of their performance and a beautiful book with essays in English by Evangelisti and others explaining the GINC aesthetic and philosophy.   For the new listener of GINC, they for sure will be reminded of John Cage's early works.  GINC has a different 'feel' for their instruments, and it doesn't rely on musical accidents or outside noise.  The sounds that GINC makes are very confined to space and time.  

The mind reels knowing Morricone's association with these sound bandits.  Most of the Italians here did music soundtracks or wrote music for libraries that store scores for future films and Television.  Most associate Morricone with the Spaghetti western, but if that is your knowledge of Morricone, you really don't know him at all.  I feel that GINC was or is a very important aesthetic for Morricone and throughout his career, he has touched on the avant-garde side of music composition for his various movie soundtracks.   His openness to explore the music landscape is breath-taking.  Gruppo di Improvvisazione Nuova Consonanza is an essential listening experience for anyone who even has the slightest interest in modern music.  These five discs plus DVD and book is a worthy investment that will keep on giving for a very long time. 

Here's the full list of members of GINC. Each one contributes greatly to the music.  They are: Alessandro Sbordoni, Antonello Neri, Domenico Guaccero, Egisto Macchi (an incredible composer), Ennio Morricone, Franco Evangelisti, Frederic Rzewski, Giancarlo Schiaffini, Giovanni Piazza, Ivan Vandor, John Heineman (the only American in the group?), Mario Bertoncini, and Walter Branchi.

Gruppo Di Improvvisazione Nuova Consonanza - "Gruppo Di Improvvisazione Nuova Consonanza" Vinyl, LP, Album, Reissue, 2016/1966 (Schema)

Gruppo Di Improvvisazione Nuova Conssonanza is a group of Italian composers who got together to make improvised 'noise' music.  The most famous member of the band (orchestra) is Ennio Morricone, who plays Trumpet within this experimental group.  The others are composers, who border on the classical or are writing film track music.   Here, they can go wild, and wild do they go.

This is music that is not open-ended but contained in an aesthetic history that is a combination of Fluxus and music by John Cage.  Perhaps even traces of The Art of Noise (the other Italian Futurist sound movement) not the British 'pop' group.  Using conventional instruments, they make new sounds by altering the instruments or through electronic means.  What sounds like chaos is really master musicians working in a format that takes chances at a high point, yet never fall off the cliff.  At times ambient but more likely in one's face, this is essentially 20th-century music that changes the shape of the air around them.  I think of their music more sculptural than anything else.  

The album was released in 1966, and this is a reissue, that is in a limited edition of 500.  Pick it up before it goes bye-bye.  The other composers/musicians involved besides Morricone are Jerry Rosen, Frederic Rzewski, Franco Evangelisti, Roland Kayn, Mario Bertoncini, Ivan Vandor, and John Heineman.   The sound of 1966 that is the new sound

Ennio Morricone - "Crime and Dissonance" CD, Compilation, 2005 (Ipecac Recordings)

Ennio Morricone is the most magnificent composer in the 20th century.   He does film work, and of course, a film composer is an integral part of the film aesthetic, but I often feel that Morricone's music is usually more important than the actual films he worked for.  It allowed him to experiment, mix music genres, and make awesome (soundtrack) albums.  Mike Patton, a superb singer for various groups and sessions, has his own label, Ipecac, and here he has put together the more experimental and moody works in one package.  It's an excellent introduction to Morricone's inner-world and avoids a lot of his famous melodies, but a focus here on his more experimental touches. 

If you take the entire works of Morricone, it can be divided into sections.  The spaghetti westerns,  Mafia/crime narratives, high-comedy or farces, soft-sex films, and horror.  This collection consists mostly his work on horror films as well as crime.   As a package, it is going to either attract one to listen more, or you may run away from the speakers.  If you stay, you're going to be awarded many hours of pleasure, if you track down the original editions of these masterful soundtracks.  

Beside Patton, John Zorn is the only other artist to capture the whole spectrum of Morricone's work.  He initially did an album of his music, and that was my first introduction to this Italian composer.  It's a love affair that never ends. 

Ennio Morricone - "Indagine su un Cittadino ai di Sopra di Ogni Sospetto" OST, Vinyl, LP, Album, Limited Edition, 1981/2015 (AMS Records)

One of Ennio Morricone's playful scores.  "Indagine Su un Cittadino ai di Sopra di Ogni Sospetto" (Investigation Of A Citizen Above Suspicion) sounds like a dark comedy, but the fact is the film is a suspense movie.  The thing about Morricone is that he never gives you what one expects, but something extra.  If you have to categorize his works, for instance, his avant-garde scores compared to his 'pop' pieces, lush orchestrations, then this one would be his melodic soundtrack.  It borderlines on his Spaghetti western soundtracks.  There are the 'boings' and odd percussion throughout the score.  The record is chamber music, in that it's not a large ensemble playing this music.  Everything is understated, for the exposure of the main melody.  Unusual harpsicords come in the mix, with perhaps a trombone is thrown in for good measure.   There is a delicacy in the playing and within the score's arrangements.  The album is a perfect introduction to Morricone's work for the beginner.  Intriguing melodies played over a perfect mixture of instruments.  

This edition of "Indagine Su un Cittadino ai di Sopra di Ogni Sospetto" is the one to get.  Incredible packaging with liner notes, and a separate LP sized poster of lobby cards for the film.  A film geek's sense of heaven.  In a limited edition of 500.

Ennio Morricone - "La Proprieta' non e' Più' Un Furto" Album, Vinyl, Italy, 2017/1973 (Goodfellas)

The great fun of purchasing an Ennio Morricone album is that you don't know what to expect. For the beginner (and of course, you were introduced to the Spaghetti Western and "The Mission" soundtrack), I would look for the name Bruno Nicolai on the cover.  He sometimes arranges or conducts the orchestra for Morricone.  Think of him as David Bowie's Mick Ronson.   Stating all of this, "La Proprieta' non e' Più' Un Furto" is Morricone at his most adventuresome.  The hum of a synth, an acoustic guitar playing the melody at times, a voice through some electronic process, crazy percussion, harpsichord with another electronic keyboard of some sort - and bingo instant Morricone. For what looks like an Italian sexy comedy, this is very much an avant-garde work of music.  With touches of a glorious melody, of course.  If I walked into the room, and not knowing what is being played in front of me, I would swear it's a recording from The Letterists.  There is also some crazy Trumpet work, which I'm sure is played by Morricone.  The album turns like chasing a lizard.  You don't know what direction it's going - except you know it's a work of genius and therefore you just sit back and bathe yourself in the sounds of this record.   Also note, this is an excellent album package. It comes with a movie poster!  - Tosh Berman

Ennio Morricone - "Eat It" Vinyl, LP, Album, OST, Limited Edition, Italy, 1969/2016 (Cinedelic)

Ennio Morricone.  "Eat It."   I think the composer's name and the title of the film say it all.  The original Italian title of the movie is "Mangiala."  I haven't the foggiest idea what the film is about, but I suspect it has something to do with science, eating meat, and sex.  I'm sure it's a good film, but the soundtrack is incredible.  This may be a good introduction to the overall sound of Morricone's music. Because you have the strong melodies part, the amazing orchestration (arranged by pal Bruno Nicolai), and total noise ambient all in one package.  

Then again, it's hard to contain Morricone on just one album.  I just did an inventory of the albums that I own by him, and it came to 60.  None are bad, some are super good, and there are the exceptional ones.   "Eat It" is for sure up there.  There is one major melodic theme that runs through the album but re-arranged in many ways.  My favorite cut, and for a future club hit, is "Quinta Variazione Aricami."  A percussion work- out that Adam Ant must have heard somewhere in his musical past.  An incredible rhythmic song, with the classic Morricone melody laying on top of it or by its side.  A chef's method, which Nicolai brilliantly arranged.  

As mentioned, there are various types of music on this soundtrack, and all of them are essential Morricone.  There is a need to actually go through his entire catalog and write about it.  Perhaps I can do this as a book.  Till then, I'll write about my Morricone collection here ... and there... but mostly here now. 

Egisto Macchi - "Città Notte" (Vinyl, LP, Album, Reissue, Remastered, 2015/1972 (The Omni Recording Corporation)

"città notte," (Night City) the album by Egisto Macchi is a masterpiece.  A pal of Ennio Morricone, as well as both of them being part of the experimental and free-flowing Gruppo di Improvvisazione Nuova Consonanza.  This is a very focused album of compositional music, but using the instrumentation in startling aural textures.  Macchi's approach is to express an urban area (a city) as a subject matter for this album.  It's abstract space, but no doubt Italian.  

From moment to moment "città notte" can change from lush strings to snarling electric guitar.  Or both.   When you have the beauty of the strings mixed in with harsh sounds of a guitar, or organ, it brings out the grandeur of the piece.  Pain and pleasure equal bliss.  Sparseness yet the aural canvas will eventually be full.  There are no specific credits in who plays what on this album, recorded in 1972, but it's more of a hunch that Morricone plays trumpet, and it's almost like the sound of someone spitting against the wind. 

On a financial level, I think this album was made for film production houses which need a certain type of music - mood pieces, or something romantic at times. Listening to it as an album project, which I suspect Macchi was playing both ends of the spectrum, is superb.  It is truly a mix of the experimental, the gorgeous melodies, and an exploration of sound, and how it can transform a space.  Playing this album in a room that is great for sound, it can't help but impress the listener. 

Ennio Morricone - "Comandamenti per un Gangster" (OST) Vinyl, LP, Album, Limited Edition, 2015 (Dagored)

The album as perfection.   From the graphics of the cover to the vinyl design to the aural delights within the package, it's a must to obtain and enjoy.  For me, Ennio Morricone is one of the greatest composers of the 20th century.  The mixture of instruments, the haunting melodies, and the imagination that goes through his compositions is magnificence at work.   "Comandamenti per un Gangster" is basically two songs, but totally re-arranged to give it a new listening experience. It never grows old, and one is amazed at the arrangements by Bruno Nicolai.  

The music on this album is very much in one's face.  Some original soundtrack music is very ambient and there to serve the images on the screen, but Morricone is listenable without the specific images coming from the projected light.  One can tell that this is not a romantic score but tied in with elements of suspense and violence.  Beyond that, it's a landscape of sound that is one moment soothing, and then gripping in its intensity.  This album should be played loud with all the windows in the house closed. Don't have mercy for your neighbors down below or next door.  

Ennio Morricone "Danger: Diabolik" CD, Album, Unofficial Release, 2001 (Sycodelic)

The legendary and lost soundtrack album from Ennio Morricone.  "Danger: Diabolik" is the ultimate late 1960s (or is it the 70s) hero/villain film made in Europe.  A combination of The Phantom meets James Bond mixed with Fantomas, Diabolik is the ultimate of the ultimate masked heroes, who embraced the sexual revolution with great passion.  Actually, he has a true love that is more Eros than keeping a home together.   The soundtrack is equal to the film, and the story is that the master tapes were destroyed in a fire.   So the soundtrack has never been released officially, only in the shadow world of bootlegs.  

The album is great. It does have a classic Morricone song "Deep Down," which I believe is known to all those who love Retro Lounge Culture.   The album is a mixture of electronics, sound effects, and sharp bursts of melody that runs through the entire soundtrack.  This particular package also has a lot of dialogue, which I suspect that they just recorded everything from a film print or VHS tape.  So, entirely listenable, the sound quality is not the best in the world.  Still, it's a fantastic album, and important for those like me who collect Morricone. 

The Group - "The Feed-Back" Vinyl LP, Album (with CD), Re-Issue, Re-mastered, 1970 (RCA, Schema ‎)

"The Group" is Gruppo di Improvvisazione Nuova Consonanza, who we know is a band that Ennio Morricone is associated with.  Totally experimental, and more John Cage-like than what we think of with respect to Morricone's more mainstream movie soundtrack work.  "The Feed-Back" is Gruppo di Improvvisazione with an incredible beat.  The one consistent instrument throughout the recording of this album are the drums.  It's very Can/Neu like, that it's a beat that doesn't give up. 

The music is free-form, but the drums keep everything grounded to a groove.  An adventuresome DJ can play this album in a nightclub, and I don't think there will be that many people leaving the dance floor.   There are only a handful of recordings by or with Morricone that has nothing to do with film scoring. So it's interesting avenue or opportunity for him to do what he wants to without the restrictions of a producer.  Which comes to mind, does a filmmaker dare tell him what to do?

To give full credit to the band, it consisted of Walter Branchi, Renzo Restuccia, Bruno Battisi D'Amario, Egisto Macchi, Mario Bertoncini, John Heineman, and of course, Morricone.