"Music is not a passion, a hobby or something that makes us feel better, it's a necessity. Necessity to express things that go over language". We all should make a manifesto out of it, to rise against background music noise pollution. Nowadays we listen to music everywhere distractedly, at the bar, in a cinema, in the dentist's waiting room, in supermarkets, and at the airport of course (the eclectic Brian Eno himself released an album about that in 1978). Mario Iannuzziello, a cultured and skilled musician from Bari, fulfills a huge ambition: using jazz to open up a dialogue with the classical tradition, combining improvisation and composition. That was the unfinished dream of Charlie Parker, commonly defined as an anarchist musician, and fed up with the rules, the absolute protagonist in one of the most controverted experiments: a cold fusion of a string quartet and a jazz quartet between 1949 and 1952. Iannuzziello is young, but listening to his new album's tracks, it's easy to understand his work, as a musician and as a composer, is strongly hoisted onto the shoulders of giants (from Charlie Parker and Tom Harrel to Scott LaFaro, maybe the most innovative double-bassists in jazz history, then without neglecting one of his mentors, Davide Santorsola, died prematurely only 53 years old. After all, Charlie Parker was used to spending more than fifteen hours on the instrument, during his practice sessions: it's not perchance that one becomes a legend. Talented young people, moving abroad are currently defined as a "brain drain". Mario Iannuzziello came back instead, because music has no boundaries, goes beyond latitudes, and can't stand walls, not even among musical genres.