Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (…) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape?
Music can enrich and enhance the cinematic spectacle of some of movie historys greatest moments, and sometimes the music has a life of its own, beyond the confines of the silver screen. This collection from Welsh mezzo-soprano Katherine Jenkins brings together her most popular tributes to some of the greatest film themes and composers from some of the most popular movies of all time, including her interpretations of Everything I Do (I Do It For You) famous as the theme from Robin Hood: Prince of Thieves, and I Will Always Love You made famous by its use in The Bodyguard.
Filiazione del cinema exploitation a base di sesso e violenza, i "mondo movie" sono quei documentari-shock che colpirono e scandalizzarono l'Italia (ma anche l'America e l'Europa) a partire dagli anni Sessanta, mostrando realtà del tutto separate da quelle occidentali attraverso una serie di immagini dure e sconvolgenti: esotismo misterioso e riti violenti, magie ancestrali e nudità integrali, nature selvagge e cerimonie tribali.
Before delving into the music on this collection, it's important to offer a note of caution to Chet Baker fans: Italian Movies is not a really a compilation of the trumpeter's work, so much as a series of film scores by the great composer Piero Umiliani between 1958 and 1964 on which he is featured either as a soloist or as part of the orchestra. It might better have been marketed to Umiliani fans, but it's tough to fault label Moochin' About for a little creative license when repackaging a previous issue of this music that appeared on Liuto Records – that one was co-billed to the pair. Other than on disc three – where Baker doesn't get to solo until track nine in the score for 1962's Smog, yet is still featured for 20 minutes – there is plenty of him to go around as he works amid his Italian contemporaries.