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Possibly i think you need to put a bit more emphasis on Leone insisting to Ennio what he wanted, because that pushed Morricone in that direction, even though Ennio stepped sideways and fashioned a compromise. Plus a better balance would also include the important contribution of the virtuoso performers Morricone was able to use at that time, Alessandroni's whistling, which was unique (there's not been another like him), and Michele Lacerenza on trumpet.
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I mean by describing what he (leone) wanted and liking the pastures of plenty that Ennio played him and insisting on the deguello idea. Whenever there is collaboration it is difficult to nail down where one person's contribution ends and another's starts and each might tell a different story.
Bearing in mind Ennio was never one for being told what to write - you sensed (and its there in the quotes you used) that he passionately felt what is the point of a composer's talent if he cannot be allowed to freely compose - however, on this occasion, suffice to say, Leone pushed Ennio in a certain direction with his basic intent and Ennio didnt just produce an easy copy, he retained his self worth/professional pride by adapting, moulding, being innovative, coming at it from the side door not the front.
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Thanks, Bill. I've updated the post according to your suggestions as they are indeed important points.
Cheers.
No prob. There are other threads where this has been discussed previously, for sure i recall one in maybe last two years where people were discussing the responsibility for the Fistful sound, morricone/Leone. I cannot for the life of me remember what thread, it may have been one on Fistful or even something like Leone v Morricone, dont know. I do recall Henry (Morricone) making a good case for the importance of Leone's influence.
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