Danilo Rea

Although born in Vicenza, Danilo Rea is Roman; he is Roman because his musical story was born in Rome, inside the walls of his home, where the charm and pull of the old records of Modugno were stronger, even as a child, than any other form of entertainment. The true game is playing the piano, the true enchantment is music, the true dream is the melody, the true abandonment is in harmony. This passion led him to study at the Conservatory of Santa Cecilia, where he graduated with honors in piano and where he currently teaches jazz. Classical studies, rock and pop had a strong influence on his education and they converge in jazz, his true passion, in an unmistakable and unique style composed of two fundamental ingredients: melody and improvisation. Barely an adult, he made his debut with the historic Trio di Roma with Enzo Pietropaoli and Roberto Gatto. He has also accompanied some of the most important Italian singer-songwriters as pianist: He has even worked with the likes of Mina and Gino Paoli, both of whom have remained loyal to him over the years. He has also collaborated with Claudio Baglioni, Pino Daniele, Domenico Modugno, Fiorella Mannoia, Riccardo Cocciante, Renato Zero, Gianni Morandi and Adriano Celentano. His talent soon led him to establish himself on the international scene and to play alongside some of the biggest names in jazz such as Chet Baker, Lee Konitz, Steve Grossman, Bob Berg, Phil Woods, Michael Brecker, Tony Oxley, Joe Lovano, Gato Barbieri , Aldo Romano, Brad Mehldau, Danilo Pérez, Michel Camilo and Luis Bacalov. In 1997, with Enzo Pietropaoli and Fabrizio Sferra, he founded “Doctor 3”, the trio that received the critics’ award for best jazz group for three years, and that for more than ten years has led him to set foot on some of the most important stages in Italy and abroad with performances in Europe, the United States, South America and China. Since 2000, Danilo Rea has found in solo piano the ideal moment to shape his own expressive universe and his natural talent for improvisation; the ideas that converge in his performances vary widely, from the cornerstones of jazz, to Italian songs, to opera arias. His first solo work was “Lost in Europe” (2000) composed during a tour in Europe. In 2003, he published “Lirico”, in which he mixes opera and jazz, improvising on the musical themes and highlighting their topicality. His intense relationship with classical music, which continues to this day, led him to open the International Opera Festival, “Festival del bel canto”, with the concert “Belcanto Improvisations”. He followed with “Solo” (2006) and “Introverso” (2008), albums in which Rea tried his hand at unpublished solo piano compositions, up to the award-winning “A Tribute to Fabrizio de André”, a tribute to the great Italian singer-songwriter and poet and recorded for the prestigious German label ACT in 2010. But his solo piano concerts, with his improvisations that range over any repertoire, are what truly conquer audiences all over the world. In addition to being the first jazz musician to have a solo piano concert at the Santa Cecilia hall of the Auditorium Parco della Musica (in 2003), in 2006 he was the protagonist of a memorable concert at the Guggenheim Museum in New York. Subsequently, with “Concerto per Peggy”, for the 60th anniversary of the Peggy Guggenheim Collection in Venice, he paid homage to Peggy Guggenheim with a piano recital that covered and celebrated American classical music from the first half of the last century. In 2009, he performed at the Teatro La Fenice in Venice and closed the 68th season of the Camerata Musicale Barese with a concert at the Petruzzelli Theater. Among his most recent collaborations are his works with Gino Paoli; already fellow adventurers in theproject“Un incontro in Jazz”,the artistic partnership continued with the album and the live project “Due come noi che ...”(2012) and “Naples with Love” (2013). In 2014, Danilo wrote the music for the film “Quando c’era Berlinguer” and in 2015, the music for ‘I bambini sanno”, both directed by Walter Veltroni. In the summer of the same year, a world premiere was presented at Umbria Jazz “... IN BACH?”, the live, four-handed project with Ramin Bahrami, a tribute to the impressive musical legacy of Johann Sebastian Bach. On 16 October 2015, “Something in our way” (Warner Music Italy) came out, a new piano album inspired by the unforgettable repertoire of the Beatles and the Rolling Stones. In 2016, through the tour of Umbria Jazz in China 2016, he brought his piano concerts to more prestigious venues and important theaters in the cities of Beijing, Shanghai, Qingdao and Canton.


Speeches of Danilo Rea

AM I? Artificial Music Intelligence” – AMI VS DANILO REA

The performance represents on stage the process of learning, decoding and cracking the human pattern in real time. Rea plays, the AMI - Artificial Music Intelligence - designed and implemented by a Engineering team of University Roma Tre - learns and collects data in real time, and when the system succeeds in “cracking” the human code of Rea’s improvisation, sends a signal to synthesizer that plays electronic sounds filtered and managed by Alex Braga to create a duet of man and machine. If the system “fails” and doesn’t succeed in cracking, the signal sent by the A.I. will be digital noise and white noise. The more is Rea unpredictable, the less the A.N.N. will decode. But the A.I. learns and gets better: performance after performance, collecting millions of datas on Rea, will be more and more able to crack and interact . On the other hand, man is creative: Rea and Braga too will get to know the machine better and better and will be able to use it as a brand new musical instrument to play with. This is the balance we are trying to represent, our artistic answer to the conceptual and current debate: Rea will be not only a sublime improvisator, but will become a totally new instrument himself, along with Braga and the A.I., that plays a new music ensemble driven by the human code. And the result of the man-machine interaction will either be better than man by himself and machine by themselves. The performance is structured as a great Wagnerian crescendo, with Rea starting his solo and the machine slowly decoding and entering Rea’s music on tiptoe until it provides fundamental support and acts as a counterpart in the grand finale of back-and-forth

Speech language: Italian

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