Luigi Abenante (French horn); Rudy Miglaiardi (trombone); Daniele Di Gregorio (piano, drums, percussion); Leo Martini, Antonio Marangolo (synthesizer); Jino Touche (bass); Daniela Panetta, Laura Conti (background vocals).

Principally recorded at Fonoprint Studio, Bologna, Italy.

Personnel: Paolo Conte (kazoo, piano, synthesizer); Alessio Menconi (guitar, electric guitar); Daniele Dall'omo (guitar, ukulele, trumpet); Alessia de Filippo, Simona Cazzulani (violin); Claudio Chiara (flute, alto saxophone); Luca Velotti (soprano saxophone, tenor saxophone); James Thompson (alto saxophone); Alberto Mandarini (trumpet); Rodolfo Migliardi (trombone); Antonio Marangolo (synthesizer); Ares Tavolazzi (double bass); Ellade Bandini (drums, percussion); Bill Evans, Marc Johnson, & Joe Labarbera , Paola Lorenzi, Laura Conti (background vocals).

Audio Mixer: Roberto Barillari.

Recording information: Fonoprint Recording Studio, Bologna, Italy.

Photographer: Michael Wilson .

Arranger: Paolo Conte.

A return album for the U.S. after the success of the Best Of album from Paolo Conte. His gravely voice croons through some works and narrates others. The compositions are all older works, revised and rearranged for the purpose of Reveries. At times using elements of Neapolitan music, at times stuck in French chanson, and at times in the cabaret forms, Conte is constantly moving from one style to the next, ably changing the mood with the piano before he even utters a word in the next style. There's a clear disenchantment with love coming across despite language barriers in many of the tracks, and an extraordinary use of language and poetry to convey just the opposite in others. References to tango are many, as Conte makes use of a bandoneon player to enhance the South American mood here and there. The elements of jazz, and even R&B, are exploited a bit as well, maintaining a supreme level of cool as he effortlessly croons to each of them, reciting his poetry casually. There's even a short bout with a kazoo, during which the singer (inexplicably) continues to maintain his cool. There's a fascination with cool jazz here, and a fascination with the work of Piazzolla, but most importantly, a willingness to explore any number of territories and incorporate them all in the process of presenting an outstanding finished product of poetry in the form of high musical art. This is one of a small number of albums produced each year that should be heard by listeners from outside the genre's core, and experienced at least once by all. ~ Adam Greenberg