Mega Tip! ** 7 new previously unreleased tracks ** Smog returns in a definitive new edition that restores Piero Umiliani’s score to its full, disorienting splendour. Composed and recorded in Rome in 1962 for Franco Rossi’s film of the same name, the soundtrack documents a unique encounter between Italian studio craft and American jazz mythos. At its centre is the extraordinary presence of Chet Baker, whose trumpet sketches out lines of bruised lyricism and wary cool, and Helen Merrill, whose voice brings a grain of human vulnerability to even the most impeccably framed cues. Together with Umiliani’s orchestra, they shape a sound‑world that captures both the ambiguous allure and the underlying alienation of the so‑called American dream.

Smog was the first Italian film to be shot in the United States, and one of the most sophisticated and visionary portraits of Los Angeles committed to celluloid in the early 1960s. Umiliani’s music mirrors and amplifies that double vision. Lush, harmonically refined writing rubs against more stripped‑back jazz settings; sleek, sun‑drenched themes are shadowed by harmonies that never quite resolve. Baker’s West Coast sensibility threads through these contrasts, at times gliding over the arrangements with effortless melancholy, at others cutting across them with stark, exposed phrases that feel like private thoughts breaking through the city’s surface. Merrill’s appearances deepen the emotional field, her phrasing turning standard jazz vocabulary into intimate commentary on dislocation and desire.

This new edition from CAM Sugar is presented across double vinyl, double CD and digital formats, and marks the most complete and faithful release of the score to date. Seven previously unreleased tracks from the original sessions expand the narrative, revealing alternate angles on key themes and additional moments of dialogue between Baker, Merrill and Umiliani’s ensemble. The release is the fruit of extensive archival work: original session tapes, long stored in the label’s historic vaults, have been transferred in high resolution and restored with a scrupulous ear for the dynamics and warmth of the analogue recordings. Rather than smoothing away age, the restoration preserves the subtle tape grain and air that situate the music firmly in its era.

The renewed attention to Smog mirrors the film’s own reclamation, underlined by its recent restoration by the Cineteca di Bologna. Heard alongside that restored image of Los Angeles - its freeways, smog‑softened skylines and transient encounters - Umiliani’s score emerges as both a vital cinematic component and a standalone masterpiece of European jazz‑inflected soundtrack writing. This edition doesn’t merely reissue a collectible LP; it reanimates a complex piece of cultural history, inviting listeners to step back into an early‑60s Los Angeles seen through Italian eyes and heard through the muted, searching horn of Chet Baker, shaped by Piero Umiliani’s unerring feel for mood, colour and the spaces in between.