Tiziana Ghiglioni
Tenco Project

Finding oneself listening to the voice of Tiziana Ghiglioni is a real fortune, but especially if an album like this falls into your hands, then you can truly say you have "luck" (or "excellent taste" if you purchased it after careful listening). I listened to the reinterpretation of "Ciao amore ciao" by chance four years ago on a friend's cassette tape and was enchanted by Ghiglioni's voice, by her interpretation completely different from Tenco's. By chance again, I found the album a few days ago and did everything to have it and review it. So, quoting myself (without any presumption), I can say I had "luck".

Moving beyond this little aside not quite suitable for the review of a Ghiglioni record, especially one interpreting Tenco, I can start by saying, for those who do not know her, that this singer is no amateur. She began in 1979 following the workshops of arranger Gaslini, and today she carries on her project regarding Duke Ellington and Lucio Battisti, whom she considers one of the best Italian artists (superior, according to her, even to Tenco). Tiziana Ghiglioni, with this album, won the Tenco Award in 1994 and started a long successful tour lasting about two years. Accompanied by Gian Luigi Trovesi on alto sax and clarinet, Paolo Fresu on trombone and flugelhorn, and Umberto Petrin on piano, Tiziana Ghiglioni has created a little gem in music, where emotions blaze in every song, where her sublime voice is supported by excellent musicians, especially Trovesi and Fresu.

The album starts with "Ciao amore ciao," and already you can breathe the atmosphere of the entire album, of intense and relaxing, harmonious jazz. "Mi sono innamorato di te," in its second version, suggests that there is also great room for instrumental improvisation within the album. Particularly beautiful is the feminine reinterpretation of "Vedrai vedrai," poignant and melancholic, where Tiziana Ghiglioni fully showcases her qualities as a valid interpreter and excellent jazz singer. But above all, this "Tenco Project" deserves to be listened to because Ghiglioni was the first artist to initiate a cycle of jazz rearrangements of Italian songs. I find that it was fundamental for Philology to entrust an artist of Tiziana Ghiglioni's caliber with an important reinterpretation of Luigi Tenco's repertoire, which not only brought followers in the Italian musical scene (even though this idea was not entirely original given that in the United States, they have long been reinterpreting the repertoires of Gershwin and Porter in a jazz key) but also gave new light to the songs of an artist still too forgotten.