Bruno Lauzi, born August 8, 1937, in Asmara, Eritrea (then an Italian territory), was a multifaceted Italian singer-songwriter, poet, and performer. His career spanned several decades, showcasing his talents in various musical genres, including folk, cabaret, and rock. Lauzi’s work left an indelible mark on Italian music and culture, making him a prominent figure in the country’s artistic landscape.
Early Life and Background
Bruno Lauzi was born to a Jewish mother and an anti-fascist father, a background that influenced his artistic and political outlook. His early years were spent in Genoa, Italy, where he began to cultivate his interest in music and the arts. Lauzi’s initial foray into music came in the 1960s, a period marked by his association with influential figures and the burgeoning Italian music scene.
Music Career Beginnings
Lauzi’s music career began in earnest in 1960 when he wrote the song “Bella,” which was recorded by Giorgio Gaber, a noted Italian singer-songwriter. This initial success led Lauzi to pursue his career as a cantautore (singer-songwriter). By 1962, he had adopted the stage name Miguel and the Caravana, under which he recorded songs such as “A Bertuela” and “U frigideiru.” These early works, sung in Genoese dialect with Brazilian influences, established his presence in the Milanese cabaret scene, particularly at the Derby Club, a significant venue for the city’s cabaret culture.
Rise to Prominence
In 1965, Lauzi participated in the prestigious Sanremo Music Festival with his waltz “Il tuo amore.” Although it did not advance to the finals, this appearance marked his entry into the mainstream Italian music scene. Lauzi’s first album, “Lauzi al cabaret,” was released around the same time, followed by “Ti ruberò” in 1966 and “Kabaret n.2” in 1967. His early music often combined traditional Italian folk with innovative elements, reflecting his diverse influences.
Political and Social Commentary
Throughout the late 1960s and early 1970s, Lauzi’s music began to reflect his political views. Unlike his contemporaries Fabrizio De André and Gino Paoli, who leaned towards leftist politics, Lauzi supported the Liberal Party. His 1969 song “Arrivano i cinesi” was a satirical critique of Mao Zedong, showcasing his willingness to engage with political issues through his music.
Collaborations and Key Works
A significant turning point in Lauzi’s career came in 1970 when he began collaborating with Lucio Battisti and Mogol at the Numero Uno record label. This collaboration produced notable tracks such as “Mary oh Mary” and “L’aquila.” At Numero Uno, he also met Edoardo Bennato, with whom he co-wrote the song “Lei non è qui… non è là.”
Lauzi’s work with Numero Uno led to the release of several influential albums, including “Bruno Lauzi,” “Amore caro amore bello…,” and “Genova per noi.” His 1977 album “Persone” featured the politically charged song “Io canterò politico,” a critique of leftist cantautori, excluding Francesco Guccini. This period marked Lauzi’s increasing involvement in political commentary through his music.
Later Career and Achievements
By the late 1970s and early 1980s, Lauzi’s career continued to evolve. He released “Alla grande…” in 1979 and “Amici miei” in 1981, with his last album for Numero Uno being “Palla al centro” in 1982. From 1985 onwards, Lauzi worked with Five Record, producing and recording albums like “Piccolo grande uomo” and “La musica del mondo.”
In the 1990s, Lauzi collaborated with the band Buio Pesto, contributing to their projects and releasing his own works such as “Il dorso della balena” (1992) and “10 belle canzoni d’amore” (1994). This era also saw the publication of his poetry collections “I mari interni” and “Riapprodi,” demonstrating his versatility as both a musician and a poet.
Final Years and Legacy
Lauzi’s final years were marked by health struggles, including Parkinson’s disease. Despite these challenges, he continued to work, releasing albums like “Omaggio alla città di Genova” and writing poetry collections such as “Esercizi di sguardo.” He also contributed songs to other artists, including Mina and Viola Valentino, showcasing his enduring influence in the music industry.
Lauzi’s last album, “Tra cielo e mare: la Liguria dei poeti,” was released in 2005, and he also wrote the novel “Il caso del pompelmo levigato.” He passed away on October 24, 2006, in Peschiera Borromeo, Italy, due to liver cancer. His final song, “Barbiturici nel thè,” was written for Viola Valentino, and his posthumous autobiography, “Tanto domani mi sveglio. Autobiografia in controcanto,” was published by Gammarò.
Influence and Cultural Impact
Bruno Lauzi’s contribution to Italian music and culture is significant. His ability to blend various musical styles and address political and social issues through his work set him apart from his contemporaries. Lauzi’s songs, characterized by their lyrical depth and melodic innovation, have left a lasting impact on the Italian music scene.
His collaborations with other prominent artists and his involvement in political and cultural commentary highlight his role as a versatile and influential figure. Lauzi’s work continues to be celebrated for its artistic merit and its reflection of the socio-political landscape of Italy during his lifetime.
Conclusion
Bruno Lauzi was a remarkable artist whose career spanned several decades and encompassed a range of musical and literary endeavors. From his early days in Genoa to his later years as a celebrated cantautore and poet, Lauzi’s work reflects his unique artistic vision and his engagement with political and social issues. His legacy endures through his extensive body of work, which continues to resonate with audiences and influence the Italian cultural landscape.
