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Broxton Comment-MB-002-29

FA6701 Ad ogni costo / Grand Slam
Auther: Jonathan Broxton

ENNIO MORRICONE REVIEWS, Part 2-29

AD OGNI COSTO [GRAND SLAM] (1967)

Ad Ogni Costo, released as Grand Slam in the United States, is a crime caper directed by Giuliano Montaldo, starring Edward G. Robinson as an American professor living in Brazil who, having grown bored with his life in academia, decides to try to pull off a diamond heist during the Rio Carnival. To this end he gathers together a team of skilled crime specialists, including an electronics engineer and a safecracking expert, to help him complete the job, while elsewhere a French playboy is hired to romance the only key to the building from its beautiful female owner, played by Janet Leigh.

The score is based around three main recurring themes. The main title, “Punto e Basta,” is an irrepressibly sunny piece of Herb Alpert -style Tijuana jazz, with a jaunty trumpet refrain, a light pop percussion section, and a choir ‘la la la’-ing and ‘ba-da-ba-ing over the melody. “Vai Via Malinconia” is a more lounge-based jazz piece with its roots in Brazilian bossa nova, with a moody trumpet melody and glittering rhythmic guitars. The eponymous “Ad Ogni Costo” is a little darker and more intense, but still based around jazz music principles, with an unusually metered rhythmic centerpiece for harpsichord and guitars, surrounded by all manner of ethnic shakers and percussion items.

Elsewhere, “Ai, Moreno” is a clattering, flamboyant carnival piece for trumpets and voices that make you want to done a fruit-encrusted headdress and shake your hips. “In Chiesa” is a gorgeous piece of liturgical church music for strings and pipe organ. Finally, “Dirgli Solo No” has a soft rumba beat and, oddly, a set of vaguely Chinese-sounding chord progressions, oddly juxtaposed against wistful vocals. None of this is really going to appeal to anyone who doesn’t care for Morricone’s Latin-flavored pop scores, but I like it a great deal.

I personally own the 1999 RCA Records release which combines 24 minutes of music from Ad Ogni Costo with score from the 1965 movie Menage all’Italiana. However, the most complete release of the music appears to be 2010 edition from GDM Music, which expands the score to 54 minutes with eleven variations on several of the core themes, and presents it with enhanced digital sound.

Track Listing: 1. Punto e Basta – Titoli di Testa (2:56), 2. Vai Via Malinconia (1:30), 3. Ad Ogni Costo (2:43), 4. Vai Via Malinconia #2 (1:37), 5. In Chiesa (2:27), 6. Dirgli Solo No (2:12), 7. Tudo e Nada (2:43), 8. Voce (2:30), 9. Ai, Morena (2:22), 10. Samba do Desprezo (1:59), 11. Eu Fiz Mal Em Dizer (2:03), 12. Samba Bamba (Versione Coro (3:20), 13. Ai, Morena #2 (2:05), 14. Punto e Basta #2 (2:56), 15. Dirgli Solo No #2 (2:32), 16. Samba Bamba (Versione Strumente con Tromba) (3:20), 17. Ad Ogni Costo #2 (1:59), 18. Vai Via Malinconia #3 (1:41), 19. Ai, Morena #3 (3:22), 20. Dirgli Solo No #3 (3:07), 21. Tudo e Nada #2 (2:07), 22. Vai Via Malinconia #4 (2:29). GDM Music 7086, 54 minutes 00 seconds.

August 20, 2017
Film Appreciation on This Website
Online music audition
No.
Name
 Audition
001
Punto e Basta (Titoli de Testa)
002
Vai Vai Malinconia
003
Ad Ogni Costo
004
Vai Vai Malinconia
005
In Chiesa
006
Dirgli Solo No
007
Tudo e Nada (Lyrics Luciano Salce)
008
Voce (Lyrics Luciano Salce)
009
Al Morena (Lyrics Luciano Salce)
010
Samba Do Desprezo (Lyrics Luciano Salce)
011
Eu Fiz Mal Em Dizer (Lyrics Luciano Salce)
Attachment: About Jonathan Broxton
Jon is a film music critic and journalist, who since 1997 has been the editor and chief reviewer for Movie Music UK, one of the world’s most popular English-language film music websites, and is the president of the International Film Music Critics Association (IFMCA). Over the last 20+ years Jon has written over 3,000 reviews and articles and conducted numerous composer interviews. In print, Jon has written reviews and articles for publications such as Film Score Monthly, Soundtrack Magazine and Music from the Movies, and has written liner notes for two of Prometheus Records’ classic Basil Poledouris score releases, “Amanda” and “Flyers/Fire on the Mountain”. He also contributed a chapter to Tom Hoover’s book “Soundtrack Nation: Interviews with Today’s Top Professionals in Film, Videogame, and Television Scoring”, published in 2011. In the late 1990s Jon was a film music consultant to the Royal Philharmonic Orchestra in London, and worked with them on the films “Relative Values” with music by John Debney, and “The Ring of the Buddha” with music by Oliver Heise, as well as on a series of concerts with Randy Newman. In 2012, Jon chaired one of the “festival academies” at the 5th Annual Film Music Festival in Krakow, Poland. He is a member of the Society of Composers and Lyricists, the premier nonprofit organization for composers, lyricists, and songwriters working motion pictures, television, and multimedia. (Here)
2023.11.17
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