Enzo Jannacci

Not just a musician but also a health care provider — employment that he kept until pension — Enzo Jannacci was among the first rock and roll & roll performers to emerge from Italy, over time learning to be a successful entertainer and chansonier but under no circumstances losing his extremely peculiar irony, in lots of ways his most distinctive brand. Created in Milan on June 3, 1935, Vincenzo “Enzo” Jannacci debuted in the 1950s like a jazz pianist, using famous brands Gerry Mulligan, Chet Baker, and Stan Getz. In the same years, he began employed in the cabaret theaters like a comedian and a showman. By the end of 1956 Jannacci give up his first music group, Rocky Mountains, to be able to start using the youthful Adriano Celentano, with whom he had taken component in the initial Italian rock and roll & roll celebration, in Milan’s Palazzo del Ghiaccio during 1957. After that, by the end of the next year, he began a duo with Giorgio Gaber known as I Credited Corsari, with whom he released some singles (one of these being the well-known “Tintarella di Luna”), afterwards re-released over the record Giorgio Gaber — Enzo Jannacci. At exactly the same time he began his own single career, instantly revealing a distinctive personality in blending together rock and roll & move and a solid Milanese feeling, depicting the life span and characters from the suburbs of the town — frequently using the neighborhood dialect — within an instantly recognizable miscela of irony and sadness, as showed by songs such as for example “Un Portava we Scarp del Golf.” In 1962 he took component in the theatrical present Milanin Milanon with Milly and Tino Carraro, and in 1963 Ricordi released the singles collection Le Canzoni di Enzo Jannacci. In the same calendar year he fulfilled Dario Fo, who composed the present 22 Canzoni for him; the show’s music can be noticed over the live record In Teatro and on La Milano di Enzo Jannacci, both dated 1964. Sei Minuti all’Alba implemented in 1966. In 1967 Jannacci released another effective record, Vengo Anch’Io, No Tu No!, whose name monitor topped the Italian graphs the following calendar year. The record included another of Jannacci’s most well-known tracks, “Ho Visto un Re,” that was censored from the Italian nationwide television due to its politics content material. In the 1st half from the 1970s Jannacci not merely released the albums La Mia Gente (1970) and Jannacci Enzo (1972), but also constructed the soundtrack for Mario Monicelli’s Romanzo Popolare (1974, like the melody “Vincenzina e la Fabbrica”) and Lina Wertmuller’s Pasqualino Settebellezze, that he received an Academy Prize nomination, and acted in Marco Ferreri’s L’Udienza. For the time being, he also transferred for some time to South Africa as well as the U.S., where he specific in heart procedure with Christiaan Barnard. In 1975, because of its name monitor, Quelli Che verified his success, accompanied by 1976’s O Vivere O Ridere, 1977’s Secondo Te…Che Gusto C’È?, and 1979’s Foto Ricordo. In 1977, Italy’s most significant feminine vocalist, Mina, released an record comprised completely of Jannacci music entitled Mina Quasi Jannacci, and in 1980 Milva do the same on her behalf record Milva la Rossa. In the 1980s, although he hardly ever stopped launching albums — 1980’s Ci Vuole Orecchio and Nuove Registrazioni, 1981’s live record E Allora…Concerto, 1983’s Discogreve and Ja-Ga Brothers (with Giorgio Gaber), 1985’s L’Importante (essentially the most interesting from the 10 years), and 1987’s Parlare con we Limoni — Jannacci increased his tv performances (e.g., Gran Simpatico in 1983). In 1989 he debuted on the Sanremo Music Celebration with “Se Me Lo Dicevi Prima” and released 30 Anni Senza Andare Fuori Tempo, a live record celebrating his 30-calendar year solo career. Through the 1990s Jannacci came back towards the Sanremo Music Celebration 3 x: in 1991 using the melancholic “La Fotografia” (from Guarda la Fotografia); in 1994 with “I Soliti Accordi,” a duet with Paolo Rossi afterwards contained in the anthology from the same name; and in 1998 with “Quando el Musicista Trip” (in the greatest-hits group of the same name). In 1991 he also interpreted with Giorgio Gaber a fresh version of Samuel Beckett’s theatrical piece Looking forward to Godot. The 2000s began using the discharge of the wonderful Arrive Gli Aeroplani (2001) and L’Uomo a Met? (2003), implemented in 2004 by Milano 3.6.2005, including new versions of his most well-known songs in Milanese dialect. Released in 2006, THE VERY BEST was an anthology that also included some unreleased paths — one of these being truly a duet with Paolo Conte.