We the Italians March 21, 2016 - 77 - Page 21

st # 77 MARCH 21 , 2016 he reinvented according ded in the US. to his personal taste and After a series of concerts in In 1949, Carosone was rhythmic style. Europe, the sextet – which asked to put together a trio for the Shaker club In 1956, Carosone met now included the drumin Naples. He signed the the lyricist Nisa (his real mer Aldo Pagani – landed Dutch guitarist Peter Van name being Nicola Saler- in Cuba, starting off a meWood, the introducer of no), with whom he would morable American tour. the guitar pedal board, establish a long-lasting The group performed in and Gegè di Giacomo, ne- friendship. The trio would Caracas, Rio de Janeiro, comprise and, on 6 January 1958, phew of the famous Nea- subsequently politan poet Salvatore di the singer Piero Giorgetti in New York at the prestito then turn into a six-per- gious Carnegie Hall, whiGiacomo. ch up until then had been son group. reserved to classical music The artist’s first commercial success was the song Carosone’s sextet exhibi- – only exception being the Maruzzella, composed by ted in an international tour jazz clarinet player Benny him in 1954, on a text by in 1956. In 1957, he wro- Goodman and his quarEnzo Bonagura. Besides te his and Nisa’s greatest tet’s performance in 1938. Maruzzella, Carosone’s success: Torero. For 14 songs are primarily inspi- weeks, Torero remained At the height of his career, red by the rich repertoire at number 1 on the US hit on 7 September 1959, Caof Neapolitan h