I'm pretty sure there has never been a topic bout this film or composer, but some of you might be interested.
My latest film music review is a weird one: composer Jo Yeung-Wook's score for the Korean action epic KUNDO: AGE OF THE RAMPANT, which brings Ennio Morricone's classic spaghetti western sound roaring into the 21st century. Just posted over at my website
I'm bringing back this older thread. In my topic "Homages and Honoring" Yavar posted two youtube cuts from this film score, and I was hooked. I especially wanted to track this CD down for my Western-Morricone-Loving brother.
I think I got a deal. It was about $32.00 at Amazon for two CDs, but one seller from Korea was selling it new for $21.00 plus $4.99 shipping. I was shocked that shipping was that cheap. I think I got the last one at that price, and it arrived in 2 weeks.
I received it yesterday and have really enjoyed it. I printed out Jon Broxton's review, and I think he is spot on. I certainly hear a lot of spaghetti western sounds similar to Morricone and a bit of Bacalov. One track is pure Morricone with a male choir backing a new theme. This music is different for an Asian movie. I thought one track was pure rock and roll which was kind of strange. As Jon said, "A New World" is "Zimmerish." Jon also makes comparisons to Herrmann and Tyler.
It really sounds like a western score with some Asian flair and is a very thematic score. (lots of themes) You might want to keep your eyes open for this double CD. It is worth the current Amazon asking price of $32.00 if the shipping is reasonable.
You're welcome Joan! I've long been an admirer of your posts and have valued your opinion so much over the past decade here on the board. I'm so glad I was able to do something in return. It really is a wonderful score -- I think the first of the two cues I posted from YouTube may actually be officially based on a theme by Riz Ortolani, in the interests of full disclosure, but the rest of the score is original, albeit with lots of great influences mixed in with more Asian sounding stuff. Pretty cool that it got a two disc release off the bat, and thankfully it features plenty of variety to sustain that length.
I'm so glad you like it, and I hope your post encourages many others to try this score as well.
I've also been trying to get his score the THE HANDMAIDEN from this year -- a marvelous film and interesting score -- but so far, he has not responded to my requests.
I've been told -- here, I think -- that Yeong-Wook is more of a music supervisor than a composer, though. Is that right?
I went with the Hideko version when I purchased The Handmaiden, though YesAsia now lists both versions as out of print already, so anyone wanting a physical CD might want to pick it up pretty soon.
The booklet for The Handmaiden credits the composition of the score to Hong Dae-Sung, Yun Sora and Jo Hye-Won, who are the same composers who have been credited on the last couple scores where Jo Yeong-Wook has been the musical director. Hong Dae-Sung was also the primary composer for Kundo, composing at least two thirds of the score as well as arranging Riz Ortolani's themes.
It seems like a very curious practice. Even with composers such as Zimmer, who often works with others, he would never credit himself as a composer (much less the only composer) in cases where he's only worked as a supervisor. Does no one ever question this in South Korea? It reminds me of the old Oscar practice where the head of the music department went on-stage to receive the prize, and not the actual composers.
I'm not positive how they handle the scoring on these films, but I think this could be more a case of Western audiences just assuming he's composing all the music. The composers are pretty clearly noted in the booklets for every score I have that Jo Yeong-Wook has worked on, while he is credited as the music director. Even the itunes listing for The Handmaiden credits the artist as Jo Yeong-Wook and The Soundtrack Kings, which seems to be analogous to Media Ventures or Remote Control Productions. Another similar group in Korea is Leading Tone, which consists of Hwang Sang Jun and a few other composers who often collaborate on scores.
