Cinema, Circus & Spaghetti (Sexmob Plays Fellini: The Music of Nino Rota)
Download links and information about Cinema, Circus & Spaghetti (Sexmob Plays Fellini: The Music of Nino Rota) by Sexmob. This album was released in 2013 and it belongs to Jazz, Avant Garde Jazz, Theatre/Soundtrack genres. It contains 13 tracks with total duration of 01:02:29 minutes.
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| Artist: | Sexmob |
| Release date: | 2013 |
| Genre: | Jazz, Avant Garde Jazz, Theatre/Soundtrack |
| Tracks: | 13 |
| Duration: | 01:02:29 |
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| Buy on iTunes $9.99 | |
| Buy on iTunes $9.99 | |
| Buy on Amazon $9.99 | |
Tracks
[Edit]| No. | Title | Length |
|---|---|---|
| 1. | Amacord | 4:36 |
| 2. | Il Teatrino Delle Suore (Juliet of the Spirits) | 5:11 |
| 3. | La Strada | 3:49 |
| 4. | Volpina (Amacord) | 6:24 |
| 5. | Paparazzo (La Dolce Vita) | 4:17 |
| 6. | Toby Dammit's Last Act (Spirits of the Dead) | 8:31 |
| 7. | La Dolce Vita | 4:59 |
| 8. | Zamparo (La Strada) | 2:44 |
| 9. | Nadia Gray (La Dolce Vita) | 2:24 |
| 10. | The Grand Hotel (Amacord) | 5:11 |
| 11. | Gelsomina (La Strada) | 1:39 |
| 12. | I Vitelloni | 3:00 |
| 13. | Spirits of the Dead (Bonus Track) | 9:44 |
Details
[Edit]This fun-loving jazz quartet is no stranger to film music: On 2001’s Sex Mob Does Bond, it had its way with the wonderful soundtracks that John Barry wrote for James Bond movies. On 2013’s Cinema, Circus & Spaghetti, Sex Mob turns its attention to Nino Rota, who composed memorable scores for Federico Fellini’s classic oeuvre. Group leader and slide trumpeter Steven Bernstein, saxophonist Briggan Krauss, electric bassist Tony Scherr, and drummer Kenny Wolleson make Rota's songs swagger and sway in their very own way. The opener—a reinterpretation of the theme from the 1973 dramedy Amarcord—starts with mysterious percussion before the band settles into a slow-tempo groove topped by woozy horns. On “La Strada,” Bernstein and Krauss bend and shape notes just so as cymbals clatter and clash. “Toby Dammit’s Last Act” features trumpet and sax wiggling above simple bass and resounding gongs. Things get rowdy on “Nadia Gray,” which combines punk rock abandon with something that sounds like “Reveille.” The good times wrap up with “I Vitelloni,” a cut full of bluesy bleats and wails.