Beppe Carletti founded the band I Nomadi in 1963 along with Augusto Daolio, Franco Midili, Leonardo Manfredini, Gualberto Gelmini and Antonio Campari. Here plays the role of keyboard player from the start, but his training also extends to other instruments, such as the piano, accordion, Hammond organ and synthesizer.
In 1968 participates in the incision of the 45 “Another day is gone – The beautiful,” with Francesco Guccini. In 1972, under the name of Captain Nemo, recorded two 45s solo: “20,000 Leagues / 000.02 ehgel” and “20,000 Leagues / Wild Thing”, with which sold over 120,000 copies.
On 18 February 2005, on the birthday of Augusto Daolio, Beppe Carletti was appointed Knight of the Italian Republic by President Carlo Azeglio Ciampi.
On 19 August 2009 he partecipates, along with numerous other artists, at the Concert for Viareggio, benefit concert conceived by Zucchero following the train crash in Viareggio.
In 2011 he was president of the jury of the Italian Eurovision Song Contest.
November 22, 2011 he released his first solo album, entitled “The other half of the soul” entirely composed of instrumental pieces.
In 2012, following the earthquake that hit Emilia, has promoted the Concerto for Emilia, held on 25 June.
Beppe, were written many words about the history of the Nomadi, needless to reiterate that you are a band history and you have written and performed unforgettable hits. Let’s talk about your roots music: few people know that you introduced to music thanks to the accordion… Why the accordion? Didi you follow some musician in particular?
He was my teacher, Mozzarini Edoardo, who advised the piano accordion. For him it was a complete instrument, when I started to study music in ’54, there was no DJ and radio networks, etc. There was only Rai, you could play in small parties and learn an instrument that could give you a solid foundation, ant that was essential for the future. No musician had impressed me in a special way, the only musicians I saw and heard were those of the band of my country home.
What instrument did you have?
My first accordion was a Vaccari 120 bass, which my mom and I went to buy directly from the manufacturer in Modena.
What about the making of a hit song?
When a song is born is difficult to know whether it will be successful or not, the audience will decide whether will enter the heart.
Tell us about your relationship with Augusto Daolio…
My relationship with Augusto was brotherhood, we met by sixteen year olds, we became adults together, sharing joys and sorrows and seeing life in the same way. The relationship has always been intense and never a fight, because the intentions were the same, the desire to be on stage, to have fun without thinking about the success.
1963/2014… How do you stay “in the gap” for so long? How would you rate the current musical style and the environment that revolves around?
Stay afloat is certainly not easy, sometimes I think it was easier to get to the success that stay there. Always ask me what are the secrets of this long career, I reply that primarily are the songs and what I represent with them, namely consistency, humility and humanity.
Scans the horizon for a moment… Do you think it would be possible to repeat a Nomadi “phenomenon”?
It is almost impossible to repeat a “Nomadi” phenomenon as you say, not because the Nomadi are extraterrestrials, but because they have always been, since their birth, a phenomenon in itself, particular and unique outside of each scheme and never in search of success, the ephemeral. Remaining with his feet planted on the ground and not get carried away by false enthusiasms and false illusions.
The new music proposals, often fomented by the same record labels and the media, are often revealed ephemeral phenomena “of a song” sets the general attention and then disappear into oblivion. If you had to bet on a band or on a young emerging over who would be betting?
The artists that are proposed today, very often, are created for the immediate success (various Talent) without thinking about a possible tomorrow, but trying to get everything at once, to squeeze as you squeeze a lemon because, so, there are hundreds behind ready.
I’m not a betting man, bet on the music, which is an art, would not make sense.
“One day together,” “I tramp”, “A handful of sand”, “I want to live”… Just to mention a few famous songs… Don’t you think the new proposals begin to dwindle even good “lyricists “?
Of course the good lyricists are almost never questioned. Inspired minds as Alberto Salerno, Albertelli, Daiano, Limiti, Mogol are rare. Surely there are others that do not emerge because many lyricists sung want to write down their texts, though they could abstain. Then do not forget the poets of the song: from Sinatra to De Andrè, from De Gregori to Bennato, from Fossati to Finardi, Paoli.
We return to the accordion… Have you ever been in Castelfidardo?
Maybe so, but I do not remember.
From my personal point of view I belief that, at present, we tend a bit ‘too much to look for complicated solutions and harmonic arrangements. The response of the experts is that this is what the market demands, but then you go in the clubs, in the streets, on the beaches and meet young people who, guitar in hand, singing De Andrè, Battisti, De Gregori, Guccini, Bennato, I Nomadi…
I have always said that to test whether a song “works” you first try it with guitar and voice, just so you can feel the quality of a song. The quality of the songs is not given with arrangements that adorn only the “facade”. People remains what enters in the heart, a beautiful significant and immortal song will always be present and will exceed the fashions.
A promise to the readers of Strumenti&Musica… There will always be an accordion in your songs?
Surely because the first love is never forgotten.
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