Omicidio Per Vocazione / É Stato Bello Amarti

Two Italian soundtracks, both of which hail from 1968, I must admit that composer Stefano Torossi is probably not the most popular Maestro in my own personal collection, as his scores were very few and far between. I think I am correct when I say he scored approx 14 movies between 1964 and 1996, this however does not mean that Maestro Torossi is not a highly original and also more than competent composer of music for film, it’s the old story when it comes to Italian composers the more original they are the less the attention form the masses, it’s the likes of the Italian film music collector that has the good fortune to pick up on such talents. Fin De Siècle must be given a hearty pack on the back for having the foresight and the courage to release this CD, which like many of the labels other releases probably would have continued to lay in a dank and damp vault in Rome for another 40 years. Yes 40 years, its hard to think that these two scores were composed such a long time ago, as when one listens to them they come across as being fresh, vibrant and in many ways modern sounding, but also having a sound and style that can only be Italy during the 1960s. Hammond organ, jazz trumpet with an easy going almost sleazy backing percussion interspersed with cool sounding flute and brass flourishes punctuated by electric guitar leads and groovy saxophone solos are utilised liberally within the first soundtrack on this 17 track compact disc, which is the Giallo movie OMICIDIO PER VOCAZIONE, this type of stylisation and scoring can be heard in track number 3, “Prima Dell’alba”, there is also a romantic side to the work in a sort of dark fashion, as in track number 4, “Omicidio Per Vocazione” (versione romantica), which utilises female vocal, enhanced by a slightly macabre sounding organ, a formula and fusion that works well creating a dual tonality and atmosphere to the cue. I found track number 8, “Fonogramma Fisso” to be very pleasant and entertaining, the composer putting in place a waltz type tempo and then adding to it, choir, whistler, accordion and a lazy sounding trumpet which are all topped of with an easy going female solo voce, whether this female vocalising is from Edda I am not quite sure, it sounds a lot like her, but I would not really like to say for definite, the track in question to me personally sounds a little like something the late Henry Mancini might have penned for around 90 percent of its running time, then at the cues closing seconds becomes a little more hard edged and retains some of the scores more threatening and chilling elements.
The next score is a romantic drama, E’STATO BELLA AMANTI, which is a delight, slow tenderly written themes are played alongside almost mad sounding samba styled compositions and loungey listening cues that could have easily been written by the likes of Morricone, Micalizzi, Nicolai and Cipriani during their early days of scoring movies, that are big band sound in laid back mode with the addition of the string section, its like Mantovani meets Italian film music. Not a bad thing as its probably one of the most entertaining scores I have heard this year in the vintage soundtrack department at least. It’s a delightful and pleasing work, that is haunting and foot tapping enjoyable, again the female voice is predominant throughout the score, but this time although one knows it is an Italian score, one can help being reminded of the style of Francis Lai, as in his A MAN AND A WOMAN and VIVRE POUR VIVRE or even Michel Magne’s work for film at times. The CD ends with a vocal, “Incontro Al Night” again no vocalist credited, but it’s a jazz infused cue that is it self entertaining in a stand alone way, a short vocal introduces the proceedings in the style of Patrick Samson, then the track launches into a real jazz jam, with organ, funky sax guitar and upbeat percussion which is heavy on the cymbals. All in all this is a wonderful release, that showcases the versatile and original style of composer Torossi, and hopefully it will kindle interest in a Maestro that has for far to long been overlooked.