A Fistful Of Psychedelia

Ennio Morricone: L’assoluto Naturale and Come un madrigale
From: Psichedelico Jazzistico (El Records, 2004)

There’s a famous story concerning John Carpenter’s classic horror Halloween. Apparently the up and coming director screened his rough draft of the movie sans soundtrack to the movie executives and they were less than impressed by it. Carpenter went away, regrouped, got equipped, and added his electro soundtrack to the film. The movie was then screened again for the execs and they were scared rigid by it.

Which leads me to my point: certain films could not exist without their soundtracks. A perfect example of this is Sergio Leone’s spaghetti westerns and their haunting Ennio Morricone score. With it’s innovative use of voices and soaring strings this was the peak of Morricone’s achievements in my eyes until I came across this compilation. Including highlights from four Italian films Morricone scored in the late sixties/early seventies,Psichedelico Jazzistico shows an artist at the absolute top of his game so lie back and enjoy Ennio bliss.

L’assoluto naturale starts off with the simplest of acoustic guitars and organs before the strings slowly swell up, changing the piece of music from something minute to something altogether more epic. Listen to the way the various layers are introduced and marvel at the skill at work. I love the harmonies Morricone seems to create so effortlessly between his accompanying strings, guitar, piano and percussion to create a piece that is majestic but never heavy.

The second track, Come un madrigale , is almost too beautiful for it’s own good. Reminiscent of some of Morricone’s work on Once Upon A Time In America, it begins with nothing more than a short sharp human voice in a call and answer game with the most delicate of strings. From there Morricone creates the lightest of lullabies gliding over the melody. As the vocals are properly introduced to harmonize with the strings, the track becomes truly haunting.