8.1205965 8.1205966

13. Munasterio ’e Santa Chiara 3:39(Alberto Barberis–Michele Galdieri) From Piedigrotta 1942With Dino Olivieri’s OrchestraColumbia CB 11391Recorded 19 October 1945

14. Verde luna 3:00(Gomez–Pinchi) From the film Sangue e ArenaWith Gian Mario Guarino’s OrchestraColumbia CB 12122Recorded 6 November 1948

15. Ponti sull’Arno 3:32(Cesarini–De Santi)With Dino Olivieri’s OrchestraColumbia CB 11419Recorded 5 November 1945

16. Malinconia di Capri 3:25(Olivares–Fiorelli)With Gian Mario Guarino’s OrchestraColumbia CB 12493Recorded 20 December 1949

17. Ritorna amor 3:16(Carlo Buti–Giacone–Buzzi)With Gian Mario Guarino’s OrchestraColumbia CB 12494Recorded 20 December 1949

18. Tutt’ ’e sere 3:48(Giuseppe Cioffi–Pisano) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11390-2Recorded 9 November 1945

19. La vita è rosa (La vie en rose) 2:59(Louiguy–Leonardi) With Gian Mario Guarino’s OrchestraColumbia CB 12117-2Recorded 22 November 1948

All tracks recorded in Milan and sung in Italian,except as indicated

Transfers, Production and Digital NoiseReduction by Peter Dempsey

Cover picture of Carlo Buti from a private collection

The Naxos Historical labels aim to make available the greatest recordings of the history of recordedmusic, in the best and truest sound that contemporary technology can provide.To achieve this aim,Naxos has engaged a number of respected restorers who have the dedication, skill and experienceto produce restorations that have set new standards in the field of historical recordings.

* Not Available in the U.S.

Also available from Naxos Nostalgia

8.120594 8.120641 8.120719*

8.120720* 8.120722 8.120748

120596bk Buti 12/3/04 4:50 PM Page 2

8.1205962 8.1205963 8.1205964

A stalwart of pioneering Italian radio and amaster of microphone technique, between theWorld Wars Carlo Buti became a virtualsynonym for the canzone di genere leggero.All the latest love-songs, however clichéd, were‘Buti-fied’ and within the confines of a highlyindividual if rather limited voice this stylistwho won the admiration of Beniamino Gigli,Galliano Masini and Tito Schipa became a role-model to a younger generation headed byLuciano Virgili and Claudio Villa. His phonicallyingratiating half-tones made Buti a gift to thepopular record industry of which, by 1935, hewas a leading light. Prolific, he turned downlittle or nothing that was offered him, howevertrite, and in him tenor and croonercommingled as, via the air-waves and scores ofinternationally distributed recordings, he madethe new Italian brand of cabaret initiated byMeme Bianchi, Daniele Serra, GennaroPasquariello and others accessible to a wideraudience. Polished and distinctive, in hissphere Buti had few peers (the Sicilian LucianoTajoli among the few, and a later arrival) and inhis own way he was unique, the sort of artisticphenomenon which could only have come tolight in the early days of radio and commercialrecording and, with the artistic climate of theFascist ventennio in mind, perhaps nowhereelse but in Italy.

Carlo Giuseppe Eugenio Buti was born inSan Frediano (Oltrarno), near Florence, on14 November 1902, one of three siblings.Whilenone of his immediate family were professionalmusicians (his father worked as a delivery manfor the local telegraph office), in his youth bothhe and his brother Ezio, having mastered theTuscan folk-song (stornello), followed the localcustom of serenading to order the girlfriendsof their less vocally talented peers. On leavingschool a teenager with few qualifications, Carloearned his living variously as a milkboy andbaker’s assistant and was also a keen amateurboxer. Later still he was a renaiolo, a sand-miner on the banks of the Arno (an occupationwhich on occasions also involved him workingas a ferryman) and a part-time silversmith inhis uncle’s jewellery business.

While Buti’s early vocal training wastraditional (insofar as the young tenor receivedvocal tuition from Raoul Frazzi, later theteacher of the internationally-renownedFlorentine opera baritone Gino Bechi), inbackground Buti was artisan and working-classand – like Gigli – more populist than highbrowin orientation. After an auspicious début at theFlorence Apollo in 1928, he was contracted bythe impresario and entrepreneur Pittaluga as avariety artist on his cinema-theatre circuitwhere, ambitiously billed ‘L’artista del bel

canto’ he would regale audiences with hisrepertoire of Italian, Neapolitan and Spanishnumbers, delivered allo stornello(unaccompanied, troubadour-style) as anaccompaniment to the latest silent movies.

A quick learner, from about 1929 Butiassimilated all the new songs that were sent tohim. Many of these he featured on radio andrecorded, for Edison Bell, from 1930 onwardsand his discography soon reflected the popularNeapolitan song repertoire promoted by therecently revived festival at Piedigrotta. By1934, however, he had transferred to Columbia,a company with much larger internationaldistribution and, ever in demand as a ‘one-taker’ in the studio, he began the series ofseveral hundred more titles which wouldextend until his retirement in 1956.

By the time Buti disembarked in New Yorkto begin his first American tour in October1937, his fame had preceded him. Hailed as astar at several venues in the United States anddubbed ‘La Voce d’Oro’ (The Golden Voice OfItaly), during a six-month stay he madeclamorous appearances in theatres and selectnightspots and gave several radio broadcastswhich fulfilled the promise of his imported

recordings. In 1938, in Italy, he appeared in thequasi-autobiographical film Per uomini soli(For Men Only) before returning to the Statesfor further West Coast tours in February 1939.After the war, in 1946, he made his firsttransatlantic crossing to South America wherehe sang, principally in Brazil and Argentina,again to audiences of thousands, and madefurther concert tours and radio broadcasts,including South America (1947), the USA (1948– this schedule included a Carnegie Hall andManhattan Center recital and appearances inCanada, 1949) and South America again (1953).

Although Buti was a regular during theearly 1950s at San Remo and other notedItalian festivals and endeavoured constantly toupdate his repertoire of canzonette, by mid-decade rock’n’roll had started to eclipse hismore intimate style and after some finalrecordings and broadcasts in 1956, he graduallyretreated into retirement. He died, following ashort illness, at his home in MontelupoFiorentino, in Tuscany, on 16 November 1963,aged 61 years.

Peter Dempsey, 2004

CARLO BUTI Bella ragazzaOriginal 1934-1949 Recordings

1. Bella ragazza dalle trecce bionde3:35(Trad., arr. Ricci) With Stefano Ferruzzi’s Orchestra & ChorusColumbia CB 9062-2Recorded 1 December 1938

2. Sul Lungarno (Stornellata fiorentina) 3:39(Ancillotti–Marolla) With Stefano Ferruzzi’s OrchestraColumbia CB 6983Recorded 12 June 1935

3. ’O balcone ’e Napule 2:39(De Curtis–Murolo) With Stefano Ferruzzi’s OrchestraSung in NeapolitanColumbia CB 6268-2Recorded 15 September 1934

4. Sorrento 3:33(De Curtis–Murolo) With Stefano Ferruzzi’s OrchestraColumbia CB 6260Recorded 15 September 1934

5. Carioca, Carioca...! 3:45(Di Lazzaro–Bruno) With Stefano Ferruzzi’s OrchestraColumbia CB 6324Recorded 28 September 1934

6. Resta con me 3:37(Zagari–Marf–Mascheroni) With Stefano Ferruzzi’s OrchestraColumbia CB 6964Recorded 6 June 1935

7. Fantasia d’ ’e vase 3:38(Enrico Tagliaferri–Cutolo) With Stefano Ferruzzi’s OrchestraSung in NeapolitanColumbia CB 8120Recorded 12 March 1937

8. Due chitarre 3:12(Cram–Leonardi–Semprini) With Stefano Ferruzzi’s OrchestraColumbia CB 8376Recorded 21 September 1937

9. Mattinatella 2:44(Giancola–Paoli) With Mario Consiglio’s OrchestraColumbia CB 11048Recorded December 1942

10. Dove sta Zazà? 3:20(Giuseppe Cioffi–Cutolo) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11333Recorded 2 July 1945

11. Io pe’ te moro! 2:57(Giuseppe Cioffi–De Lutio) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11337Recorded 3 July 1945

12. Chitarrata a chi sente 3:03(Cesare Bixio–Nisa) From the film La Bisbetica DomataWith Mario Consiglio’s OrchestraColumbia CB 11042Recorded December 1942

120596bk Buti 12/3/04 4:49 PM Page 1

8.1205962 8.1205963 8.1205964

A stalwart of pioneering Italian radio and amaster of microphone technique, between theWorld Wars Carlo Buti became a virtualsynonym for the canzone di genere leggero.All the latest love-songs, however clichéd, were‘Buti-fied’ and within the confines of a highlyindividual if rather limited voice this stylistwho won the admiration of Beniamino Gigli,Galliano Masini and Tito Schipa became a role-model to a younger generation headed byLuciano Virgili and Claudio Villa. His phonicallyingratiating half-tones made Buti a gift to thepopular record industry of which, by 1935, hewas a leading light. Prolific, he turned downlittle or nothing that was offered him, howevertrite, and in him tenor and croonercommingled as, via the air-waves and scores ofinternationally distributed recordings, he madethe new Italian brand of cabaret initiated byMeme Bianchi, Daniele Serra, GennaroPasquariello and others accessible to a wideraudience. Polished and distinctive, in hissphere Buti had few peers (the Sicilian LucianoTajoli among the few, and a later arrival) and inhis own way he was unique, the sort of artisticphenomenon which could only have come tolight in the early days of radio and commercialrecording and, with the artistic climate of theFascist ventennio in mind, perhaps nowhereelse but in Italy.

Carlo Giuseppe Eugenio Buti was born inSan Frediano (Oltrarno), near Florence, on14 November 1902, one of three siblings.Whilenone of his immediate family were professionalmusicians (his father worked as a delivery manfor the local telegraph office), in his youth bothhe and his brother Ezio, having mastered theTuscan folk-song (stornello), followed the localcustom of serenading to order the girlfriendsof their less vocally talented peers. On leavingschool a teenager with few qualifications, Carloearned his living variously as a milkboy andbaker’s assistant and was also a keen amateurboxer. Later still he was a renaiolo, a sand-miner on the banks of the Arno (an occupationwhich on occasions also involved him workingas a ferryman) and a part-time silversmith inhis uncle’s jewellery business.

While Buti’s early vocal training wastraditional (insofar as the young tenor receivedvocal tuition from Raoul Frazzi, later theteacher of the internationally-renownedFlorentine opera baritone Gino Bechi), inbackground Buti was artisan and working-classand – like Gigli – more populist than highbrowin orientation. After an auspicious début at theFlorence Apollo in 1928, he was contracted bythe impresario and entrepreneur Pittaluga as avariety artist on his cinema-theatre circuitwhere, ambitiously billed ‘L’artista del bel

canto’ he would regale audiences with hisrepertoire of Italian, Neapolitan and Spanishnumbers, delivered allo stornello(unaccompanied, troubadour-style) as anaccompaniment to the latest silent movies.

A quick learner, from about 1929 Butiassimilated all the new songs that were sent tohim. Many of these he featured on radio andrecorded, for Edison Bell, from 1930 onwardsand his discography soon reflected the popularNeapolitan song repertoire promoted by therecently revived festival at Piedigrotta. By1934, however, he had transferred to Columbia,a company with much larger internationaldistribution and, ever in demand as a ‘one-taker’ in the studio, he began the series ofseveral hundred more titles which wouldextend until his retirement in 1956.

By the time Buti disembarked in New Yorkto begin his first American tour in October1937, his fame had preceded him. Hailed as astar at several venues in the United States anddubbed ‘La Voce d’Oro’ (The Golden Voice OfItaly), during a six-month stay he madeclamorous appearances in theatres and selectnightspots and gave several radio broadcastswhich fulfilled the promise of his imported

recordings. In 1938, in Italy, he appeared in thequasi-autobiographical film Per uomini soli(For Men Only) before returning to the Statesfor further West Coast tours in February 1939.After the war, in 1946, he made his firsttransatlantic crossing to South America wherehe sang, principally in Brazil and Argentina,again to audiences of thousands, and madefurther concert tours and radio broadcasts,including South America (1947), the USA (1948– this schedule included a Carnegie Hall andManhattan Center recital and appearances inCanada, 1949) and South America again (1953).

Although Buti was a regular during theearly 1950s at San Remo and other notedItalian festivals and endeavoured constantly toupdate his repertoire of canzonette, by mid-decade rock’n’roll had started to eclipse hismore intimate style and after some finalrecordings and broadcasts in 1956, he graduallyretreated into retirement. He died, following ashort illness, at his home in MontelupoFiorentino, in Tuscany, on 16 November 1963,aged 61 years.

Peter Dempsey, 2004

CARLO BUTI Bella ragazzaOriginal 1934-1949 Recordings

1. Bella ragazza dalle trecce bionde3:35(Trad., arr. Ricci) With Stefano Ferruzzi’s Orchestra & ChorusColumbia CB 9062-2Recorded 1 December 1938

2. Sul Lungarno (Stornellata fiorentina) 3:39(Ancillotti–Marolla) With Stefano Ferruzzi’s OrchestraColumbia CB 6983Recorded 12 June 1935

3. ’O balcone ’e Napule 2:39(De Curtis–Murolo) With Stefano Ferruzzi’s OrchestraSung in NeapolitanColumbia CB 6268-2Recorded 15 September 1934

4. Sorrento 3:33(De Curtis–Murolo) With Stefano Ferruzzi’s OrchestraColumbia CB 6260Recorded 15 September 1934

5. Carioca, Carioca...! 3:45(Di Lazzaro–Bruno) With Stefano Ferruzzi’s OrchestraColumbia CB 6324Recorded 28 September 1934

6. Resta con me 3:37(Zagari–Marf–Mascheroni) With Stefano Ferruzzi’s OrchestraColumbia CB 6964Recorded 6 June 1935

7. Fantasia d’ ’e vase 3:38(Enrico Tagliaferri–Cutolo) With Stefano Ferruzzi’s OrchestraSung in NeapolitanColumbia CB 8120Recorded 12 March 1937

8. Due chitarre 3:12(Cram–Leonardi–Semprini) With Stefano Ferruzzi’s OrchestraColumbia CB 8376Recorded 21 September 1937

9. Mattinatella 2:44(Giancola–Paoli) With Mario Consiglio’s OrchestraColumbia CB 11048Recorded December 1942

10. Dove sta Zazà? 3:20(Giuseppe Cioffi–Cutolo) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11333Recorded 2 July 1945

11. Io pe’ te moro! 2:57(Giuseppe Cioffi–De Lutio) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11337Recorded 3 July 1945

12. Chitarrata a chi sente 3:03(Cesare Bixio–Nisa) From the film La Bisbetica DomataWith Mario Consiglio’s OrchestraColumbia CB 11042Recorded December 1942

120596bk Buti 12/3/04 4:49 PM Page 1

8.1205962 8.1205963 8.1205964

A stalwart of pioneering Italian radio and amaster of microphone technique, between theWorld Wars Carlo Buti became a virtualsynonym for the canzone di genere leggero.All the latest love-songs, however clichéd, were‘Buti-fied’ and within the confines of a highlyindividual if rather limited voice this stylistwho won the admiration of Beniamino Gigli,Galliano Masini and Tito Schipa became a role-model to a younger generation headed byLuciano Virgili and Claudio Villa. His phonicallyingratiating half-tones made Buti a gift to thepopular record industry of which, by 1935, hewas a leading light. Prolific, he turned downlittle or nothing that was offered him, howevertrite, and in him tenor and croonercommingled as, via the air-waves and scores ofinternationally distributed recordings, he madethe new Italian brand of cabaret initiated byMeme Bianchi, Daniele Serra, GennaroPasquariello and others accessible to a wideraudience. Polished and distinctive, in hissphere Buti had few peers (the Sicilian LucianoTajoli among the few, and a later arrival) and inhis own way he was unique, the sort of artisticphenomenon which could only have come tolight in the early days of radio and commercialrecording and, with the artistic climate of theFascist ventennio in mind, perhaps nowhereelse but in Italy.

Carlo Giuseppe Eugenio Buti was born inSan Frediano (Oltrarno), near Florence, on14 November 1902, one of three siblings.Whilenone of his immediate family were professionalmusicians (his father worked as a delivery manfor the local telegraph office), in his youth bothhe and his brother Ezio, having mastered theTuscan folk-song (stornello), followed the localcustom of serenading to order the girlfriendsof their less vocally talented peers. On leavingschool a teenager with few qualifications, Carloearned his living variously as a milkboy andbaker’s assistant and was also a keen amateurboxer. Later still he was a renaiolo, a sand-miner on the banks of the Arno (an occupationwhich on occasions also involved him workingas a ferryman) and a part-time silversmith inhis uncle’s jewellery business.

While Buti’s early vocal training wastraditional (insofar as the young tenor receivedvocal tuition from Raoul Frazzi, later theteacher of the internationally-renownedFlorentine opera baritone Gino Bechi), inbackground Buti was artisan and working-classand – like Gigli – more populist than highbrowin orientation. After an auspicious début at theFlorence Apollo in 1928, he was contracted bythe impresario and entrepreneur Pittaluga as avariety artist on his cinema-theatre circuitwhere, ambitiously billed ‘L’artista del bel

canto’ he would regale audiences with hisrepertoire of Italian, Neapolitan and Spanishnumbers, delivered allo stornello(unaccompanied, troubadour-style) as anaccompaniment to the latest silent movies.

A quick learner, from about 1929 Butiassimilated all the new songs that were sent tohim. Many of these he featured on radio andrecorded, for Edison Bell, from 1930 onwardsand his discography soon reflected the popularNeapolitan song repertoire promoted by therecently revived festival at Piedigrotta. By1934, however, he had transferred to Columbia,a company with much larger internationaldistribution and, ever in demand as a ‘one-taker’ in the studio, he began the series ofseveral hundred more titles which wouldextend until his retirement in 1956.

By the time Buti disembarked in New Yorkto begin his first American tour in October1937, his fame had preceded him. Hailed as astar at several venues in the United States anddubbed ‘La Voce d’Oro’ (The Golden Voice OfItaly), during a six-month stay he madeclamorous appearances in theatres and selectnightspots and gave several radio broadcastswhich fulfilled the promise of his imported

recordings. In 1938, in Italy, he appeared in thequasi-autobiographical film Per uomini soli(For Men Only) before returning to the Statesfor further West Coast tours in February 1939.After the war, in 1946, he made his firsttransatlantic crossing to South America wherehe sang, principally in Brazil and Argentina,again to audiences of thousands, and madefurther concert tours and radio broadcasts,including South America (1947), the USA (1948– this schedule included a Carnegie Hall andManhattan Center recital and appearances inCanada, 1949) and South America again (1953).

Although Buti was a regular during theearly 1950s at San Remo and other notedItalian festivals and endeavoured constantly toupdate his repertoire of canzonette, by mid-decade rock’n’roll had started to eclipse hismore intimate style and after some finalrecordings and broadcasts in 1956, he graduallyretreated into retirement. He died, following ashort illness, at his home in MontelupoFiorentino, in Tuscany, on 16 November 1963,aged 61 years.

Peter Dempsey, 2004

CARLO BUTI Bella ragazzaOriginal 1934-1949 Recordings

1. Bella ragazza dalle trecce bionde3:35(Trad., arr. Ricci) With Stefano Ferruzzi’s Orchestra & ChorusColumbia CB 9062-2Recorded 1 December 1938

2. Sul Lungarno (Stornellata fiorentina) 3:39(Ancillotti–Marolla) With Stefano Ferruzzi’s OrchestraColumbia CB 6983Recorded 12 June 1935

3. ’O balcone ’e Napule 2:39(De Curtis–Murolo) With Stefano Ferruzzi’s OrchestraSung in NeapolitanColumbia CB 6268-2Recorded 15 September 1934

4. Sorrento 3:33(De Curtis–Murolo) With Stefano Ferruzzi’s OrchestraColumbia CB 6260Recorded 15 September 1934

5. Carioca, Carioca...! 3:45(Di Lazzaro–Bruno) With Stefano Ferruzzi’s OrchestraColumbia CB 6324Recorded 28 September 1934

6. Resta con me 3:37(Zagari–Marf–Mascheroni) With Stefano Ferruzzi’s OrchestraColumbia CB 6964Recorded 6 June 1935

7. Fantasia d’ ’e vase 3:38(Enrico Tagliaferri–Cutolo) With Stefano Ferruzzi’s OrchestraSung in NeapolitanColumbia CB 8120Recorded 12 March 1937

8. Due chitarre 3:12(Cram–Leonardi–Semprini) With Stefano Ferruzzi’s OrchestraColumbia CB 8376Recorded 21 September 1937

9. Mattinatella 2:44(Giancola–Paoli) With Mario Consiglio’s OrchestraColumbia CB 11048Recorded December 1942

10. Dove sta Zazà? 3:20(Giuseppe Cioffi–Cutolo) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11333Recorded 2 July 1945

11. Io pe’ te moro! 2:57(Giuseppe Cioffi–De Lutio) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11337Recorded 3 July 1945

12. Chitarrata a chi sente 3:03(Cesare Bixio–Nisa) From the film La Bisbetica DomataWith Mario Consiglio’s OrchestraColumbia CB 11042Recorded December 1942

120596bk Buti 12/3/04 4:49 PM Page 1

8.1205965 8.1205966

13. Munasterio ’e Santa Chiara 3:39(Alberto Barberis–Michele Galdieri) From Piedigrotta 1942With Dino Olivieri’s OrchestraColumbia CB 11391Recorded 19 October 1945

14. Verde luna 3:00(Gomez–Pinchi) From the film Sangue e ArenaWith Gian Mario Guarino’s OrchestraColumbia CB 12122Recorded 6 November 1948

15. Ponti sull’Arno 3:32(Cesarini–De Santi)With Dino Olivieri’s OrchestraColumbia CB 11419Recorded 5 November 1945

16. Malinconia di Capri 3:25(Olivares–Fiorelli)With Gian Mario Guarino’s OrchestraColumbia CB 12493Recorded 20 December 1949

17. Ritorna amor 3:16(Carlo Buti–Giacone–Buzzi)With Gian Mario Guarino’s OrchestraColumbia CB 12494Recorded 20 December 1949

18. Tutt’ ’e sere 3:48(Giuseppe Cioffi–Pisano) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11390-2Recorded 9 November 1945

19. La vita è rosa (La vie en rose) 2:59(Louiguy–Leonardi) With Gian Mario Guarino’s OrchestraColumbia CB 12117-2Recorded 22 November 1948

All tracks recorded in Milan and sung in Italian,except as indicated

Transfers, Production and Digital NoiseReduction by Peter Dempsey

Cover picture of Carlo Buti from a private collection

The Naxos Historical labels aim to make available the greatest recordings of the history of recordedmusic, in the best and truest sound that contemporary technology can provide.To achieve this aim,Naxos has engaged a number of respected restorers who have the dedication, skill and experienceto produce restorations that have set new standards in the field of historical recordings.

* Not Available in the U.S.

Also available from Naxos Nostalgia

8.120594 8.120641 8.120719*

8.120720* 8.120722 8.120748

120596bk Buti 12/3/04 4:50 PM Page 2

8.1205965 8.1205966

13. Munasterio ’e Santa Chiara 3:39(Alberto Barberis–Michele Galdieri) From Piedigrotta 1942With Dino Olivieri’s OrchestraColumbia CB 11391Recorded 19 October 1945

14. Verde luna 3:00(Gomez–Pinchi) From the film Sangue e ArenaWith Gian Mario Guarino’s OrchestraColumbia CB 12122Recorded 6 November 1948

15. Ponti sull’Arno 3:32(Cesarini–De Santi)With Dino Olivieri’s OrchestraColumbia CB 11419Recorded 5 November 1945

16. Malinconia di Capri 3:25(Olivares–Fiorelli)With Gian Mario Guarino’s OrchestraColumbia CB 12493Recorded 20 December 1949

17. Ritorna amor 3:16(Carlo Buti–Giacone–Buzzi)With Gian Mario Guarino’s OrchestraColumbia CB 12494Recorded 20 December 1949

18. Tutt’ ’e sere 3:48(Giuseppe Cioffi–Pisano) With Dino Olivieri’s OrchestraSung in NeapolitanColumbia CB 11390-2Recorded 9 November 1945

19. La vita è rosa (La vie en rose) 2:59(Louiguy–Leonardi) With Gian Mario Guarino’s OrchestraColumbia CB 12117-2Recorded 22 November 1948

All tracks recorded in Milan and sung in Italian,except as indicated

Transfers, Production and Digital NoiseReduction by Peter Dempsey

Cover picture of Carlo Buti from a private collection

The Naxos Historical labels aim to make available the greatest recordings of the history of recordedmusic, in the best and truest sound that contemporary technology can provide.To achieve this aim,Naxos has engaged a number of respected restorers who have the dedication, skill and experienceto produce restorations that have set new standards in the field of historical recordings.

* Not Available in the U.S.

Also available from Naxos Nostalgia

8.120594 8.120641 8.120719*

8.120720* 8.120722 8.120748

120596bk Buti 12/3/04 4:50 PM Page 2

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8.120596Original Recordings 1934-1949Transfers, Production & Digital Noise Reduction by Peter Dempsey

NOTES AND FULL RECORDING DETAILS INCLUDED

www.naxos.com Made in Canadah & g 2004 Naxos Rights International Ltd. Design: Ron Hoares ADD

1. Bella ragazza dalle trecce bionde 3:352. Sul Lungarno (Stornellata fiorentina) 3:393. ’O balcone ’e Napule 2:394. Sorrento 3:335. Carioca, Carioca...! 3:456. Resta con me 3:377. Fantasia d’ ’e vase 3:388. Due chitarre 3:129. Mattinatella 2:44

10. Dove sta Zazà? 3:2011. Io pe’ te moro! 2:5712. Chitarrata a chi sente 3:0313. Munasterio ’e Santa Chiara 3:3914. Verde luna 3:0015. Ponti sull’Arno 3:3216. Malinconia di Capri 3:2517. Ritorna amor 3:1618. Tutt’ ’e sere 3:4819. La vita è rosa 2:59

Total Time: 63:22

CARLO BUTI Bella Ragazza