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Piazza della Santissima Annunziata, Florence, Italy

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MUSIC; An Italian Crooner Of Restless Songs Is All Over the Map

By Barry Singer

• Feb. 25, 2001

WEATHERED and savage and festive all at once, Paolo Conte's face is a virtual Italian cultural caricature -- part Florentine fresco, part Venetian carnevale mask, with a nose straight out of Dante. When he opens his mouth to sing, though, Mr. Conte both embodies Italy and transcends it. His songs, redolent of vintage American jazz and South American tangos, German cabaret and French chanson, conjure voices from all over the map as channeled through the ancient soul of an Italian poet. Horace, Virgil and no doubt Dante himself probably had faces like Paolo Conte's. But Mr. Conte's music is his own.

Comparisons only serve to emphasize his individuality and his contradictions. Imagine Randy Newman on a Fellini soundtrack. Imagine Sade or David Bowie crooning Neopolitan folks songs. Imagine gutbucket New Orleans jazz crossing with the tarantella. At different moments, Mr. Conte's music suggests each of these things.

Mr. Conte, 64, has been a hit throughout Europe for at least a decade. His alluringly off-center tunes are heard on the radio and even used as Muzak in supermarkets; his concerts sell out in Paris, Amsterdam, London and, of course, Rome. None of this was predictable. American popular culture may be very big in Europe today, but that interest hardly extends to music before Elvis. And despite the Italianate grace and Continental savoir-faire of his songs, Mr. Conte is at heart an American vaudevillian.

Three years ago the American label Nonesuch Records brought out a handsome CD compilation, ''The Best of Paolo Conte,'' culled from his dozen or so European releases. Since then Mr. Conte has visited the United States for a handful of concerts. Now, however, he has embarked on a full-fledged tour, one that has already taken him to Boston and Washington and that will come to the Beacon Theater in Manhattan tomorrow night before going on to Montreal, Toronto, San Francisco, Los Angeles and Chicago.

Where contemporary pop music idolizes the adolescent, world music still prizes old folks. On the surface, Mr. Conte might seem just another representative of the current vogue in world music for ''elders,'' among them the Cape Verdian Morna singer Cesaria Evora and, most significantly, the veteran Cuban musicians of the Buena Vista Social Club, a number of whom are over 80. Talent aside, the world music industry is marketing authenticity -- ethnic, cultural, historic -- and older performers simply appear more authentic.

Authenticity, however, seems to be just about the last thing on Mr. Conte's mind. His restless compositions traverse a universe of musical cultures, often imitating them so idiosyncratically that they are virtually reimagined. Yet his music is nothing if not Italian. The reconcilation of these disparate influences is the essence of his inscrutable artistry.

The oldest son of a notary public in the northern Italian town of Asti (best known for its sparkling wine), Mr. Conte discovered music through his parents, in particular his father, an amateur pianist. ''My father and mother both had a passion for American music, especially jazz,'' Mr. Conte, with the help of a translator, recently recalled here, where he was winding down an eight-night, sold-out run at the 2,000-seat Teatro Sistina. ''My parents actually had some Duke Ellington piano scores in the house. That was a very big thing, because the Fascists had banned American music. We got our records on the black market. Fats Waller was the first 78 I heard.''

As a boy, Mr. Conte also loved to make music -- first on the piano and later on the vibraphone. But a music career was out of the question. ''I couldn't allow myself to think of wanting to be a musician,'' he said. ''The practical side dictated otherwise. I became a lawyer. For the family. To work with my father and help in the office.''

Little by little, though, Mr. Conte began writing songs on his own time, often in collaboration with his younger brother, Giorgio. Eventually, he said, he worked up the nerve ''to send some of my songs to a music publisher in Milan.'' Miraculously, the publisher bought them.

From the beginning, Mr. Conte wrote strange, haunting songs -- fragmentary and impressionistic -- as if constructed melodically from bits of older, half-remembered refrains and lyrically from incidents nearly forgotten or perhaps dreamed. Yet there was an immediacy to everything he wrote, a droll, insurrectionist's wit, and a sense of form that was downright painterly. Each song seemed utterly new yet timeless.

All of them were initially sung by other singers, often Italy's biggest pop stars. Many of them were hits, beginning in 1967 with ''La Coppia Piú Bella del Mondo'' (''The Most Beautiful Couple in the World'') sung by Adriano Celentano and his wife, Caterina Caselli.

Then, in 1974, an executive at RCA records had an idea. ''I had been making demos, for other singers to learn my songs,'' Mr. Conte said. ''And this guy decided he wanted to release my demos, as an album. They were beautiful, he believed. I wasn't so happy about this. I'd never thought I could be a singer. I had no voice, not a singer's voice. But this was the 70's, you know? And I saw that the world was changing. Singer-songwriters were the thing. No more interpreters. A direct contact between composer and listener.''

His first two albums were, in Mr. Conte's words, ''quite rough,'' but he said they enjoyed ''a certain niche popularity.'' The third, however, ''Un Gelato al Limon'' (''A Lemon Ice Cream''), was a breakthrough. ''Not an explosion,'' Mr. Conte added. ''But many people welcomed it with enthusiasm.''

The title song remains a perfect study in the Conte style, kicking off as the most seductive of Italianate tangos, then downshifting into a hard-driving pop samba with an indelible melodic hook. The lyric is romantic, bittersweet, extravagant, yet cunningly concise.

A lemon ice cream, lemon ice cream,

Lemon ice cream

Hidden away at the end of the city.

It's real lemon,

D'you like it?

While another summer's about to end

It was not until he began singing his own songs that Mr. Conte finally gave up the law for good. With ''Un Gelato al Limon'' he also started writing his own musical arrangements. ''I didn't do any specific study for arranging,'' he said. ''I simply didn't follow the clichéd technique. I tried to translate my feelings into music. It's linked as much to the words as to the melody.''

Today, Mr. Conte's arrangements are nearly as singular as his songwriting. Onstage at Teatro Sistina, he creates vibrant orchestral textures, marshalling an ensemble of 11 musicians, who blare and whisper with a brassy confidence that comes from years of performing under the direction of a demanding maestro.

The influences in Mr. Conte's arrangements are unmistakable: the circus-like accordion insouciance of Nino Rota's classic film scores for Fellini; the churning guitar of Django Reinhardt and his Quintet of the Hot Club of France; the surging bandoneon of classic tango composers like Astor Piazzolla as well as the more acid-tinged Berliner tangos of Kurt Weill; an occasional blast of klezmer, and, especially, the blustering soprano saxophone vibrato of the New Orleans jazz legend Sidney Bechet. Mr. Conte manages to coax the almost unmatchable fire and spirit of Bechet's playing from his own bandsmen, led by the soprano saxophonist Luca Velotti, a student of Bob Wilber, himself a disciple of Bechet.

''I have always loved the defiance in Bechet's music,'' Mr. Conte said. ''And the phrasing, the syntax of his playing. And the expression he put into everything. His music is very poetical. I heard him perform once in Milan. It was like he was playing opera music, like he had a prima donna in his arms.''

Mr. Conte himself performs with a reticence that is both enigmatic and commanding. He hides behind the piano or occasionally rises to curl himself against it while crooning at a standup microphone. His piano playing, which he supplements with sporadic obbligatos on the kazoo, is compelling, though hardly virtuosic. Like his songs, it is made up of echoes and whispers, all shaded with the most exquisite dynamics. ''I am a limited pianist,'' he said. ''I'm aware of my limitations. In fact, I use them.''

His voice, of course, remains his primary instrument -- a wistful, sometimes comic, eloquently expressive, conversational rasp. The sound, more Tom Waits than Louis Armstrong, is always effortlessly musical. He sings in Italian and at least three other languages: French, Spanish and English, which he claims not to speak. His Italian lyrics are nevertheless dotted with slangy English refrains: ''I whisper I love you,'' in ''Sotto le Stelle del Jazz'' (''Under the Stars of Jazz'') or ''It's wonderful, it's wonderful/ It's wonderful/ Good luck, my babe'' in ''Via Con Me'' (''Come Away With Me'').

''My music has a cinematic quality, and the English language is more cinematic than Italian,'' he said. ''Italian isn't musical like English; it doesn't swing. Plus, many of the words are too long.''

Mr. Conte lives in Asti with his wife of more than 25 years, Egle, whom he met in court while he was still a lawyer. He says he has little social life: ''I've got very few friends. I like being with my wife at home. I live in the country. I draw and paint.''

He is, in fact, an accomplished painter, whose work was recently exhibited at the Barbican Center in London. It is now also the inspiration for his latest project, an elaborate performance piece entitled ''Razmataz,'' an attempt, as he put it, ''to tell the story of the meeting between old Europe and young black music during the 1920's in Paris.'' The multimedia piece, a mixture of narrative, live music and projections, uses more than 1,800 of Mr. Conte's works in pencil, gouache, oils and ink.

Still, it is music that consumes him. His onstage diffidence belies a driven creative intensity, one of the many contradictions that define Paolo Conte. ''I always write on the piano at home,'' he said, his hooded eyes squinting into the near distance. ''Usually at night, alone. Sometimes, very occasionally, I have an idea while traveling and I'll draw five lines and try to write down the music, but that's quite rare. The words, which always come first, can appear at any time; you get ideas everywhere, in the street, anywhere. I had a notebook once. Somebody gave it to me as a present.''

He shrugged. ''But I lost it.''

An article on Feb. 25 about the Italian singer and songwriter Paolo Conte misidentified the woman with whom Adriano Celentano recorded Mr. Conte's song ''La Coppia Più Bella del Mondo'' in 1967. She was Claudia Mori, not Caterina Caselli. The article also misstated Ms. Caselli's relationship to Mr. Celentano. She is not his wife; Ms. Mori is.

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“A gruff smoker’s voice, a piano style that wanders from honky tonk to tango palace to tony cabaret, and a weathered romantic’s world view have made Paolo Conte a well-known songwriter in Italy.” (The New York Times)

Born 6th January 1937 in Asti (a small wine-producing town in northern Italy), Paolo Conte has held a lifelong passion for jazz and the visual arts since his schooldays. Songwriting started spontaneously, almost instinctively: first he and his brother Giorgio, and then he alone, would write songs inspired by books, films, and the imaginative development of actual experience. He worked for several years as a lawyer. His performing career began on a small scale as vibraphone player in local and touring bands (Saint Vincent Jazz festival), with occasional foreign trips (3rd place in the Oslo International ‘Quiz’).

However, in the second half of the 1960s his compositions drew notice and popular singers began to record his music. For the first time the public heard these strange unusual songs: ‘La coppia più bella del mondo’ (sung by Adriano Celentano), ‘Insìeme a te non ci sto più’ (Caterina Caselli), ‘Tripoli ‘69’ (Patty Pravo), ‘Messico e nuvole’ (Enzo Jannacci), ‘Genova per noi’ and ‘Onda su onda’ (Bruno Lauzi), and many others.

In 1974, Paolo Conte began his own recording career with his first album Paolo Conte. For the first time, the public heard that languid voice, nonchalantly walking a tightrope of melody, narrating poetic fragments of brief encounters, sudden enthusiasms, and nostalgic recollections. A year later, a second LP was released (also called Paolo Conte) with another collection of songs in the same vein. With these two albums Paolo Conte had made his public debut as singer-songwriter.

He gained widespread public recognition in 1979 with Un Gelato Al Limon and Paris Milonga, which was presented in l981 at a special “Conte Day, “ organized by the Club Tenco at San Remo. The following year saw the issue of Appunti Di Viaggio, a collection of songs that provided a rich repertoire of concert songs.

Paolo Conte entered the limelight again in l984 with his first

CGD recording, an album with the familiar title Paolo Conte, which received enthusiastic reviews. He followed this release with a series of successful concerts at the Théâtre de Ville in Paris, receiving critical acclaim throughout France. He then ended his tour with sold out concerts throughout Italy. The enthusiastic atmosphere of this tour was captured on a double live album titled, Concerti.

With the release of another double album, Aguaplano, in l987, Paolo broadened his artistic range, introducing new elements to his work. With the release of Aguaplano, Paolo toured abroad playing in Canada, France, Holland (where he received gold and platinum disks), Germany, Belgium, Austria, Greece and Spain - not to mention two nights at New York’s historic Blue Note Club. He also made appearances at many jazz festivals including Montreux, Montreal, Cagliari, Juan les Pins, Nancy, etc. Following the tour, a live album (Live) recorded at the Spectrum in Montreal, and a video recorded at Amsterdam’s Theâtre Carré was released.

After a short hiatus, Paolo Conte released a new album, Parole D’amore Scritte A Macchina (1990) which introduced a new set of recently composed songs and revealed another side of Paolo Conte, a new musical approach which included backing singers and electronic experimentations. The following album, Novecento (October 1992), marked a return to a more familiar style – vintage Conte, in fact. The experimentations of Parole D’amore had been left aside in favor of a splendid band capable of suggestive echoes of jazz and musicals as commentaries on Conte’s famous rhythms, melodies, and lyrics: elegant, seductive or even drunken rhythms lurching into hot jazz, or barroom tangos; music of memories that are half true, half dreams; poetic fragments of colors, images and fantasies.

The importance of Conte’s concert performances is shown by the double album Concerti in 1985 and Paolo Conte Live in 1988, as well as two videotapes Nel Cuore Di Amsterdam (1989) and Live In Montreux (1991), then by his 19-track CD called Tournée, a selection of performances recorded live in 1991, 1992 and 1993. The material was selected from recordings at a long series of concerts including three tours of Germany, Holland, France, Italy, Belgium and Austria with odd concerts in Spain and England and nine weeks in Paris at the Olympia and at the Théâtre des Champs Elysées.

In 1995 he released, Una Faccia In Prestito, in which he worked in close collaboration with bassist Jino Touche, percussionist Daniele Di Gregorio, and accordionist and multi-instrumentalist Massimo Pitzianti with contributions on individual tracks from other members of his band. This album possesses the typical elements of the classic ‘Paolo Conte song’ – his taste for a pastiche of various styles and periods, the evident pleasure gained from creating fantastic musical texts accompanied by a witty language of unpredictable invention, like the pidgin of ‘Sijmadicandhapajiee’, or the ‘Spanish’ of ‘Danson metropoli’ and ‘Vita da sosia’.

His latest album (and first American release ever), The Best of Paolo Conte brings twenty classic songs from Conte’s auspicious career. As The Wall Street Journal recently commented, “Melancholy, absurd, romantic, funny--listening to these songs [is] like having a Fellini film poured in your ear.”

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• July 21, 2023 Setlist

Paolo Conte Setlist at Piazza della Santissima Annunziata, Florence, Italy

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• Aguaplano Play Video
• Sotto le stelle del jazz Play Video
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• Alle prese con una verde milonga Play Video
• Ratafià Play Video
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• Uomo camion Play Video
• La frase Play Video
• Dancing Play Video
• Gioco d'azzardo Play Video
• Gli impermeabili Play Video
• Madeleine Play Video
• Via con me Play Video
• Max Play Video
• Diavolo rosso Play Video
• Le chic et le charme Play Video

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16 activities (last edit by Mago_Afono , 21 Jul 2023, 21:08 Etc/UTC )

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• Diavolo rosso
• Gioco d'azzardo
• Via con me (2)
• Alle prese con una verde milonga
• Gli impermeabili
• Sotto le stelle del jazz
• Le chic et le charme
• Uomo camion

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Maestro of a lost elegance

A hush across the packed theatre in Milan descends with the lights as Paolo Conte, with his voice of gravel and silk , growls into the next number, the high point of the night, called "Madeleine". " Ma poi la strada inghiotte subito gli amanti, " (But then the street soon swallows up lovers) he sings, as the accordion exhales a lachrymose trill, joined by a deep velvet melody on violin.

When it is announced that Paolo Conte has all but sold out the Royal Albert Hall for his performance at the London Jazz Festival, some people might ask: "Who?" Others who know the best-kept secret in jazz will nod with a smile of deep affection, for not only is "Madeleine" one of the great jazz love songs of all time, but Conte is perhaps the last of the debonair giants of European jazz. He's certainly the emissary of an era, the era of, as he calls it, " eleganza ".

For this song is not just about a woman and her mysteries, it is " la canzone perduta, e ritrovata ", the song lost and found again. Conte sings of – and sings the sound of – a way of living and loving that has been lost in what he sees as "the superfluity and vulgar, bad taste" of postmodernity.

When Conte is introduced to audiences outside Italy , writers invoke a cross between Frank Sinatra and Tom Waits or Leonard Cohen, with justification. But more to the point would be Duke Ellington, Wassily Kandinsky, Baudelaire and other musicians, painters and poets who forged the jazz avant-garde that inspired Paris in the 1920s and which he sees as both the cradle of his music and of that entwinement between bold experiment and romance of which eleganza is made.

"It was the era in which so many revolutions came together, not just in Paris but in America, Russia, England and elsewhere," says the 73-year old, "the revolutions in music, painting, poetry and literature that make up modernism, the explosion and revolution of modernity."

The most common misapprehension of Conte is to mistake his romanticism for sentimentality or conservatism; he is far more interesting and complex than that. He was born, grew up and has always lived in Asti, among the vineyards of Piedmont, once part of Savoy, and in no small part French. He was two years old when the second world war broke out, but his parents were able to smuggle in records of the big band and swing music enjoyed by his father and the jazz his mother adored.

Later, he trained in his father's legal business and practised law until his passion for music called him to a career in showbusiness and "to take a piece of that prewar culture into the postwar epoch. To bear the flame and with it try to kindle the flame in others".

Conte's songs are a quintessence of – and soundtrack to – many of the reasons why many of us fell in love with Italy during the 1970s and lament their passing, to a degree. Conte preserves the civility of that Italy which, as the writer Andrea di Robilant once said to me, before the advent of the absurd and sinister Silvio Berlusconi to politics, "is like la bella figura gone from class to crass". Paolo Conte epitomised, and still epitomises, the class.

He is utterly pre-digital – none of the sounds in his songs was unavailable in the 1920s – but nothing that he does is nostalgia, he insists. "Nostalgia is entirely the wrong term. How can I be nostalgic for a time in the 1920s which I never lived? No, it is genuine mourning for that romantic spirit, its little secrets and little mysteries, lost in this time of mediocrity, when things are more vulgar than beautiful and so much is in bad taste. Mass communication cannot convey those secrets and mysteries."

His songs resounded quickly around Italy – "Via Con Me" is one of the country's all-time bestsellers – then in France, where Conte is hugely popular and became a Chevalier of the Order of Arts and Letters, eventually in northern Europe and finally the US after a tour in 1998, when both Rolling Stone and the New Yorker named The Best of Paolo Conte album of the year. But all this time, he remained in Asti, a town, he says, "of moments and settimane enigmistiche " (puzzle magazines) – living a life which has been uneventful apart from his success.

"I rarely travel voluntarily," he says, "for work of course, but as a tourist never. Music is the great traveller and it is better to stay at home, where I have so much work to do." Like many of northern Italy's great writers and artists, including the country's greatest novelist, Alessandro Manzoni, Conte's world, his voyages, are in the mind.

We meet in a backstage suite before a concert in Milan, in which a table is laid for dinner – glasses for wine and water and a bowl of fruit like a Cézanne still life. "In a song, you have three minutes at your disposal," he says. "For which the French, for instance, like to stage a little piece of theatre. We in northern Italy have a tradition of composing a flavour, colours and a fragrance."

Conte uses these words profumo – fragrance, rather than perfume – and eleganza in the same breath; he talks about wanting to convey "the fragrance of elegance, to pass on a last breath of the romantic spirit". He also says: "In music I see colours. They may not be the colours my audience sees – people may see a different colour or none at all." He is, unsurprisingly, a painter and poet as well as pianist and composer.

Conte's latest album, Nelson – a jewel – is named after his spaniel, which died two years ago, and dedicated to his long-time friend and manager, Renzo Fantini. Nor is it whingeing; the opposite indeed – his songs are as full of wit and flirtation as they are of mourning. "Real elegance has a bitterness to it, for sure," he says. "But it is also humorous and I see humour as something moral, because it invokes the yardstick of goodness in order to be funny, as though to laugh is sometimes the last thing left to us. And humour is always honest and a little self-deprecating".

Then, of course, there is love: women in Conte's songs are, far from being sex objects, opaque and mysterious in the manner of Garbo or Dietrich and his pin-up, Alida Valli, in that way that neither Jennifer Aniston nor Demi Moore could ever hope to be. "Perhaps because," says Conte, "there were so many taboos in my day, and one had to navigate a way around them, which involved humour, charm and courtship. Yes, eleganza ."

But one must try and pin Conte down: what exactly has been lost in today's cacophony? "Well," he says immediately, "wine does not taste like it did; it does not have the same bouquet as before." Then on stage later that evening, leaning against the piano in his polo-neck sweater, in that inimitable cross between a growl and a whisper and this time playing only air-piano on the Steinway, he answers the question with a song: "Le chic et le charme."

Nelson is out now on Wrasse Records

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After two sold-out performances last summer, Paolo Conte returns June 6 to the Cavea of the Ennio Morricone Auditorium Parco della Musica for the opening event of Roma Summer Fest 2023.

An unmissable show in which Paolo Conte's irresistible charm and unmistakable vocal timbre will be accompanied by an orchestral ensemble of eleven outstanding musicians: Nunzio Barbieri (Guitars), Lucio Caliendo (Oboe, Bassoon), Claudio Chiara (Alto Sax, Flute, Accordion, Keyboards), Daniele Dall'Omo (Guitars), Daniele Di Gregorio (Drums, Percussion, Marimba), Luca Enipeo (Guitars), Francesca Gosio (Cello), Massimo Pitzianti (Accordion, Bandoneon, Baritone Sax, Piano, Keyboards), Piergiorgio Rosso (Violin), Pierre Steve Jino Touche (Double Bass), Luca Velotti (Soprano Sax, Tenor Sax, Flute, Clarinet).

On the program are the singer-songwriter's best-loved songs, performed in the splendid setting of the Auditorium Parco della Musica Ennio Morricone: "Hemingway," "Under the Stars of Jazz," "Come Di," "Grappling with a Green Milonga," "Aguaplano," "Max," "Gambling," "Dancing," "Madeleine," "Genoa for Us," "Away with Me," "Reveries," "The Raincoats," and "Le chic et le charme."

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Paolo Conte (born 6 January 1937) is an Italian Singer, Composer, Pianist and Lawyer from the Piedmont region of Italy.

During his early years, Conte tried his hand at many different crafts, including art and poetry; he also trained to become a lawyer, and worked as one well into his thirties. From a young age Paolo learnt the piano, alongside his brother Giorgio, and had an interest in jazz, due to his fathers love for the genre, demonstrated by the fact that he played the vibraphone for local jazz clubs whilst working in law.

After releasing his first EP with the Paolo Conte quartet in the early 60’s and some brief tours, he really got his music career underway as a songwriter, penning notable hits, often working with Giorgio, for Italian stars of the time such as Patty Pravo and Adriano Celentano.

In 1974, at the age of 37, Conte decided to pursue his solo musical career, releasing two albums within the space of two years. Both the LP’s embodied his personal style, with the songs sung from the perspective of bourgeoisie club goers, often in a classic jazz or tango style.

Throughout the 80’s he tasted success throughout Europe, with albums such as “Aguaplano” and “ Parole D'Amore Scritte a Macchina” charting well in multiple countries. Throughout the 90’s Conte began touring worldwide as his international reputation began to grow. Towards the approaching millennium, he took time out of his career as a musician as he wrote and scored his own musical, called “Razmataz”, aswell as designing the sets and costumes for the production.

In recent years his music has been used in a variety of movies such as Micky Blue Eyes and I Am David, aswell as commercials for big brands of the likes of Coca Cola. Conte made his return to music in 2004 with his album “Elegia”.

Live-Bewertungen

A very talented man is Paolo Conte. As well as being a vocalist, pianist, and composer, I recently learned that he is also a lawyer. Who would have thought it! I’ve been following Conte’s career since I came across his distinctive grainy voice back in 2000 when he released Razmataz and was completely hooked on the album. The fusion of his jazz and classical styles is something wonderfully exciting to listen to, and seeing him perform live was something else entirely.

He took to the stage after an overture from a fantastic orchestra and took his place behind the piano. He took a moment or two making sure that the microphone was positioned correctly before introducing himself to the huge crowd. He opened the show with Via Con Me, and immediately I was blown away. His skilful playing of the jazz piano was matched by his powerful authentic voice, and it’s breath taking to watch the talent that it takes to play and sing simultaneously.

He selected his set list carefully, and played tracks from right back in the 70s, up until the most recent music, which was a great variation. After witnessing such a magical live performance, I returned to the studio albums, which are incredible, however, hearing him perform live is so much more magical.

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A man of varying talents, Paolo Conte has enjoyed a contrasting career in both music and law however it is the former that is this Italian performer's true passion. I mean you would have to feel incredibly passionate about something in order to keep doing it as you approach your 80th birthday. It feels as though Paolo never wants to leave the stage as he simply thrives on performing for audiences and enjoys their enthusiastic response to his performance.

There is a definite rapport between performer and patron and Conte capitalises on this with chatter between tracks, detailing his vast career and noting personal highlights and performances. The audience responds warmly with cheers and applause for the ageing musician. His voice may be wavering in old age but you cannot fault his dedication and the accompanying musicians help carry his wistful jazz sounds through the room so they fill it with ease.

A most stirring atmosphere enveloping the classical, the spiritual and the mundane, the Maestro and his talented musicians gave their all, spurred on by a most eager audience. The experience was totally worth the trip from Canada.

Fantastico. A 80 anni un grande! Ottima la Band con qualche elemento davvero formidabile. La voce di Conte è ancora straordinaria. Un concerto bellissimo in una cornice fantastica. Bellissimo il nuovo cofanetto con 4 CD.

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Joaquin Niemann and LIV Golf are facing an OWGR reckoning

After hitting into the water on his first shot, Bryson DeChambeau slam-dunks it from the same spot on his second attempt. (0:25)

AUGUSTA, Ga. -- Inside one of the most crowded hallways at Augusta National Golf Club, there is a picture of a 19-year-old Joaquin Niemann -- his fist punching the air -- for all the patrons walking through the merchandise building to see.

Back in 2018, the young Chilean was the No. 1 amateur in the world and had just won the Latin American Amateur Championship to earn one of the most coveted gifts in the sport: an invitation to the Masters.

Fast-forward six years later: Niemann has now played in four Masters, won 12 tournaments as a professional and been ranked as high as 15th in the world. And yet, as the calendar turned to 2024, Niemann, who plays for the LIV Golf League, found himself in a similar position to the one he faced when he was still a teenager. He didn't have a spot in this year's Masters.

Because the Official World Golf Ranking still does not award points for LIV's 54-hole events, Niemann's ranking had been plummeting well outside the top-50 requirement that the Masters holds as nonexempt criteria for its tournament. Without any exemptions earned by winning or finishing high in other majors, Niemann had no choice. If he wanted to play at Augusta this year, he would have to try to qualify by playing events outside of LIV.

To see whether he could rise up the rankings, Niemann traveled to Oman, the United Arab Emirates and Australia, winning the Australian Open and finishing in fourth place at both the Australian PGA Championship and the Dubai Desert Classic. Niemann's work paid off -- he didn't land inside the top 50, but his efforts were recognized. In early March, he received a special invite to the Masters.

"It was super hard not being in the majors," Niemann told ESPN at LIV Miami last week. "But it's pretty special to see that the Masters saw what I was trying to accomplish."

Niemann's journey is unique but not singular. At 25 years old, he has his entire career still ahead of him. Most players who opted for LIV are veterans with plenty of majors experience and exemptions to the sport's most prestigious tournaments. Even defending champion Jon Rahm , who is 27, said this week that being able to play in all majors for the next five years as a result of winning the Masters solidified his decision to leave the PGA Tour.

But what nearly kept Niemann out of Augusta has affected others who were in the Masters just a year ago. LIV players such as Abraham Ancer , Talor Gooch , Harold Varner III , Mito Pereira and Jason Kokrak , among others, are nowhere near Magnolia Lane this year due to their decline in the world rankings.

"There's gotta be a fair way for everybody on whatever tour to play and compete," Rahm said this week. "There's got to be a way for some players to earn their way in."

Of the 13 LIV golfers in the field this year, seven are here on past champion lifetime exemptions. The rest got in through either a special invite (Niemann) or thanks to their performance at other majors or PGA Tour events before their departure. If the system remains as it is, that number will likely diminish.

"We believe that [OWGR] is a legitimate determiner of who the best players in the game are," Masters chairman Fred Ridley said Wednesday.

As the sport's future ecosystem remains unclear with no deal imminent between the PGA Tour and the Public Investment Fund of Saudi Arabia, the chances for LIV's rank and file to find their way to a major are slim to none unless they attempt to go the Niemann route -- and even that isn't a guarantee.

For those who have qualified, the risk they took by going to LIV has now transformed into an added pressure to perform when they tee off at a major. More than ever, major performance is determining major attendance. And the clock is ticking.

WITH THE POST-ECLIPSE sun beginning to dim Monday afternoon and the sun-kissed Augusta crowd starting to thin out, Bryson DeChambeau was still out there, grinding over lag putts on the tricky ninth green.

Soon after wrapping up his practice for the day, DeChambeau stepped up to a microphone and answered six questions -- none of them about Augusta or the state of his game. Instead, they were all a continuation of a conversation DeChambeau has not shied away from of late.

"Everybody has their own prerogatives and wishes and wants," DeChambeau said. "And the only thing I wish is that we can all see eye to eye on some things and that we can come back to some level playing field where we can all have some fun together."

DeChambeau's comments Monday echoed his sentiment from the LIV event in Miami the weekend prior, where he originally called for the sport to be reunited "fast."

"It's not a two-year thing," DeChambeau said. "Like, it needs to happen quicker rather than later just for the good of the sport. Too many people are losing interest."

The irony, of course, is that DeChambeau -- as well as many of the players who left for LIV -- were actors in the sport's split. Nobody is exactly blameless in this ordeal, but DeChambeau is also incentivized, now more than ever, to call for unity. He might be one of only seven LIV players exempt for all four majors this year, but his time at Augusta is running out too -- in two years, coincidentally or not.

It's not just DeChambeau, and it's not just the Masters that hang in the balance for LIV players.

Dustin Johnson will be able to play in the PGA Championship only through 2025, barring him meeting a different set of criteria. The two-time major winner has a U.S. Open exemption as well as an Open Championship exemption, but only through 2026 and 2025, respectively.

Although Brooks Koepka can play the PGA for life after winning it three times, his current exemptions at Augusta and in the U.S. Open run only through 2028, and it's 2027 for the Open Championship. Although Phil Mickelson can play in the PGA and Masters forever, his U.S. Open exemption runs out next year.

For players such as Sergio Garcia , the drop-off has been more immediate. The 2017 Masters winner can play in this year's Masters only and will have to try to get in through local qualifying for the U.S. Open and the Open. Garcia notably failed to do the latter last year. The same can be said for 2018 Masters champion Patrick Reed , 2011 Masters champion Charl Schwartzel and 2-time champion Bubba Watson -- all of whom have no eligibility outside of Augusta.

Two-time major winner Martin Kaymer does not have any eligibility at Augusta. As the U.S. Open returns to Pinehurst this year -- the site of his 2014 victory -- it also marks when his 10-year U.S. Open champion exemption runs out.

And then there are the young players who bolted for LIV even before they had any success in OWGR-sanctioned events. Players such as 20-year-old Caleb Surratt and 24-year-old Eugenio Chacarra don't currently have any way to get into the majors unless they follow the path now laid out by Niemann. David Puig , 22, did that by traveling all the way to Malaysia, where he won the IRS Prima Malaysian Open to get himself into this year's Open Championship.

"They definitely said that we were going to get [OWGR points]," 32-year-old LIV player Carlos Ortiz said on the Subpar podcast recently of LIV's recruiting pitch. "I just feel that, people have to recognize that there are good players here, and if you want to have a ranking that includes all the golf players, you have to have some [LIV] people included in that ranking."

While that notion has been repeated often by several LIV players, there seems to be no desire by LIV to change its format to comply with the OWGR criteria. Ridley said Wednesday that the OWGR board made some suggestions to LIV "regarding pathways and access to players and concern about some of the aspects of team golf." But instead of budging, LIV CEO Greg Norman withdrew the tour's application for points in March.

Players have had no choice but to either accept their fate or find an alternative route.

WHEN THE SPECIAL invite arrived and the call came through asking whether Niemann would accept it, the Chilean had to resort to comedy.

"Let me think about it," Niemann recalled joking. The moment was not unprecedented, as the Masters has given out special invitations before, but it was certainly notable given Niemann's league affiliation.

Niemann felt vindicated. Unlike some of his fellow LIV competitors who opted to not play in local qualifying for the two open majors, he had put in the work.

In the process, Niemann didn't shy away from taking shots at the current OWGR structure, like when he was told he was one of the favorites for the upcoming majors after winning the LIV event in Jeddah.

"How is that possible if I'm like 100 in the world?" he asked with a grin.

While there is a disconnect between what the world rankings indicate and certain players' performances (for example, Koepka is ranked outside the top 30), the reality of the sport's impasse is that players have nothing but their words to use when criticizing the current system -- even if they don't exactly have a solution or a clear stance on whether they would want to be reinstated onto the PGA Tour.

"Do I want to play a full schedule? You know what, I don't know," DeChambeau said. "We'll see how things shake out. I don't know what the future is going to look like, and I'm not here to decide that."

This week, several players have been asked a similar question: What happens if a LIV player wins the Masters? What will change?

The answer has been a resounding shrug.

"I think the negotiations are going on with or without a [LIV] win," DeChambeau said. "From a negotiation standpoint, I don't think it'll change much, to be honest with you."

"I don't think it would really affect it," Niemann said. "I think there [are] already too many good players on every tour. I believe that if it -- I don't think [a] LIV player has to win the Masters to change things. I think things are changing already, and they are going to come up with a solution, with an agreement or whatever they are trying to do, for the best."

A deal between the PGA Tour and PIF would be only the beginning. Plenty of questions would remain about how exactly to reincorporate LIV players back into the world rankings and provide them eligibility for ongoing majors.

"There's a lot of people a lot smarter than me that could figure this out in a much more efficient way," Rahm said. "They'll need to figure out a way to evaluate how the LIV players are doing and how they can earn their way. That's the best way I can say it. I just don't really know what that looks like."

For now, players have to literally and figuratively hit and hope. As Ridley said in his news conference Wednesday, if the tournament ever felt a player outside Augusta National's outlined qualifications deserved to be in the field, it would simply invite the player. Just as it did with Niemann.

"Historically, and as stated in our qualification criteria, we consider international players for special invitations," Ridley said. "But we do look at those every year, and I will say that if we felt that there were a player or players -- whether they played on the LIV Tour or any other tour -- who were deserving of an invitation to the Masters, that we would exercise that discretion with regard to special invitations."

For players whose decisions have put them in no man's land, they can hold on to two things: their game and their belief that they can stay in majors with the one thing they can control -- their performance. Niemann, for his part, feels ready for his close-up.

"I think my game is the best I've ever seen it," Niemann said. "That's why I was super into getting into the majors because I knew, I can win at the Masters."