He subsequently moved to the bigger Second Roman New Orleans Jazz Band, with whom he first entered a studio to record an instrumental 45. In his songs, he often looked for inspiration to both his hometown and the sea.Ī third key element in Dalla s artistic development was his early and lifelong infatuation with American big-band jazz music and vocalists.Įver since his thirteenth birthday, when his mother offered him a clarinet, young Dalla only had music on his mind.Īfter playing around town with several amateur ensembles, he joined the Rheno Dixieland Band in 1960 and won an award at the first European Jazz Festival in Antibes, France.
Typically unfazed by controversy, Dalla never let criticism get behind his perennial sad buffoon faade, and kept doing things his way, even at the risk of self-parody.īy the early 21st century, Dalla had long become an untouchable icon of Italian pop culture as everybodys favorite mischievous uncle. Still, at the same time that he was alienating one audience, he was attracting a new and often bigger one. More than once he managed to enrapture and then enrage fans and critics with his sudden changes of musical direction, which were, as is often the case in Italy, invariably perceived as sheer ideological betrayals.
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