Name: ZOMBIE: Composer’s Cut LIVE! w/FABIO FRIZZI ORCH
Start: 2024-09-06T20:00:00-04:00
Location: 432 State St, Downtown Schenectady, NY, United States, New York 12305

VIP ticket will include a pre-show meet & greet with Fabio (an hour before doors open) and a couple pieces of signed VIP-exclusive merch.
Like Zombies? We LOVE Zombies! Especially Zombies that fight Sharks!!!
Flying in from Italy, famed film composer FABIO FRIZZI and his FULCI 2 FRIZZI ENSEMBLE last visited Proctors on HALLOWEEN of 2017. While those attending that event speak of it to this day as their absolute FAVORITE PROCTORS EVENT EVER, Frizzi promises an even more exciting and electrifying show this SEPTEMBER 6th!
Frizzi and his 7-piece classic rock orchestra will perform an expanded version of the much-heralded score he originally created for director Lucio Fulci’s bloody classic, ZOMBIE. Of course, as he performs this score, the film will be played here on one of the largest movie screens in the entire Northeast! Frizzi will also treat the Schenectady audience to a selection of the best of his other film music!
Why Schenectady? All other stops on Frizzi’s U.S. Tour will take him to large metropolis’s like NYC, Boston, Chicago, Detroit and L.A, but Frizzi has a soft spot for Proctors after performing his very special 2017 Halloween concert here.
Finally... for those who want to dig into the nitty gritty regarding Frizzi’s expanded score, and for those who enjoyed the release of his previous Composer’s Cut (in which he expanded and re-envisioned his score for Lucio Fulci’s The Beyond), we offer the following technical breakdown.:
In tackling Zombie (also known as Zombi 2 or Zombie Flesh Eaters), composer Frizzi has crafted something which feels familiar and new simultaneously. The story of how it came to be is truly necessary to really grasp just what has done here.
Whereas the Composer’s Cut of The Beyond was crafted to be part of a version of the film wherein the original score had been completely removed, for Zombie, there was no such version. Thus, as the composer writes in his liner notes, he would have to “work over the old music by writing new themes that would be, so to speak, superimposed upon the old musical commentary, in effect creating something totally new, something almost unimaginable.”
Thus, the tracks which make up the Zombie Composer’s Cut are both reinterpretations of old themes – the title track, the percussion that tells of the immanent voodoo, the sequencer theme, and the harmonic rock sequence which accompanies the movie’s goriest moments – while also crafting new music, such as “Afraid of Voodoo,” a completely new work which features the expert and haunting work of cellist Gennaro Della Monica.
Not for nothing does the maestro himself add a classical guitar solo to the film’s classic main title theme, adding just enough flourish to connect the droning Mellotron choir to the island themes which act as a counterpoint. It’s details such as these which elevate the new music to something special, with the result being. a score which leaps out of the speakers, robust and full.
The electric guitars are bigger, the drums hit harder, the bass smacks you in the chest, and the synthesizers feel as though they’ve had their signal boosted with a lightning strike’s worth of power.