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In 1992 Ivano Fossati released the remarkable "Lindbergh - Lettere da sopra la pioggia". An album that managed to combine high musical depth and great lyrics. In that five-year period, the artist's creative vein was at its peak. To confirm this, there are also the previous albums which, together with "Lindbergh", form a sort of essential discographic trilogy to understand the artistic evolution of the Genoese musician.
After the album's release, Fossati went on tour. Buontempo (along with the album: Dal vivo Volume 2 - Carte da decifrare) are the testimony of that unique period. The album's recordings were made at the Ponchielli theater in Cremona. Now let's take a look at the album: the recording starts with "Terra dove andare" which immediately highlights the band's skill. In this track, the great skills of the keyboardist Stefano Melone are immediately appreciated. Another musician worth mentioning is Vincenzo Zitello, who enriches the sonic texture of the whole track with his harp. It's certainly not an exaggeration to say that this version is superior to the studio one. With the second track, the bar is raised even higher. The live version of "La pianta del tè" is splendid. In this piece, all seven musicians play. Beppe Quirici on fretless bass, Elio Rivagli on drums are in perfect symbiosis. Mario Arcari is the protagonist with the oboe and the Pan flute (bamboo cane). After the remarkable "Una notte in Italia", "Buontempo" and "I treni a vapore", one listens to one of the artistic peaks of Fossati's songs. "Mio fratello che guardi il mondo" is undoubtedly one of the most beautiful tracks, with lyrics of great depth, and in this version, it is even more intense.
The entire album maintains very high levels. In fact, everything would deserve mention. In the instrumental "Sonatina", the notable skills of guitarist Armando Corsi are appreciated. "Panama" in this version is intense and brilliant. The group, in fact, excels throughout the performance. After the classic "Questi posti davanti al mare", the album closes with Fossati performing, with only the classical guitar, a track from the early eighties, namely the lesser-known "Amore degli occhi". In conclusion, this is an album that represents one of the best examples of a "true" live album. To clarify, the album wasn't edited in the studio, so it is a truthful testimony of what a group of cohesive musicians can create, including all the flaws. In the end, it can also be said that this is one of the most successful "live" albums (along with the second) in all of Italian singer-songwriter music.
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