Ten years after his death, Pino Daniele's music is still relevant. This is demonstrated among other things by Nero a Metà Experience, the project of three musicians who contributed to shaping the sound of the Neapolitan artist between the end of the '70s and the beginning of the '80s, especially in an important album like Black in half.
Drummer Agostino Marangolo, bassist Gigi De Rienzo and keyboardist Ernesto Vitolo take on tour a concert that blends memory and experimentation. «It's not just a tribute», says Marangolo, «it's our way of keeping his artistic vision alive. Playing these songs is an emotional experience, a way to transform mourning into something creative.” For De Rienzo it is important not to imitate the singer-songwriter, but to reinterpret his spirit: «It is fundamental not to imitate him. We bring the truth of who played that music, making the project authentic.” For Vitolo «it is an opportunity to enrich those songs with new nuances, giving them a freshness that keeps them alive and relevant».
In short, Nero a Half Experience is not just a tribute concert. It is a story of life that still pulsates. It is based on the 1980 album, symbol of the transition from a local dimension to a global vision, and features singers such as Greg Rega, Emilia Zamuner and Savio Vurchio on vocals. «Pino left us a treasure and we have the duty to safeguard and share it».
What does it mean to make Pino Daniele's pieces without him?
Agostino Marangolo: It was difficult. Initially there was a very strong sense of loss. We had played these songs, not just listened to them and this made the experience more emotionally intense and traumatic. Then, over time, the distance allowed us to face them again in the best possible way, softening the pain.
Gigi De Rienzo: For us, first of all it was a loss. Playing those notes was a reminder of loss. I played with other groups, even orchestras, but every time Pino was missing. The important thing is not to imitate him. We are not looking for imitators. We are real, because we participated directly in the project.
Ernesto Vitolo: It's a bittersweet experience for me. It is a pleasure to play these pieces, but also a challenge. In our concerts there are young singers who bring freshness and originality. Their personality adds nuances to the songs, respecting their essence.
Let's talk about the sound you helped create with Pino. How would you describe it?
De Rienzo: It was a fusion between the American background of jazz, blues, funk and Pino's beautiful melodies. That mix became something unique. Probably, the historical period allowed us to experiment without worrying too much about the market.
Vitolo: The beauty of those records was also in the collaboration between the musicians. Everyone brought their own style, influenced by great artists like Steely Dan or James Taylor. Music was born from sharing and research.
Marangolo: In the 70s and 80s the records were designed and played with a different approach. Pino wasn't thinking about the market, but about making beautiful music. That creative freedom is still felt today.
Is there a song by Pino that you would choose as representative of your work?
Marangolo: For me How many keys it's special. It has no American influences, it's pure Italian melody.
DeRienzo: For me Upside downbecause it tells about our life in 1979. Every time I play it, I am moved.
Vitolo: I can't choose one. Each song has a unique meaning to me, and together they represent a special moment in my life at that time.
How did you work with Pino?
De Rienzo: It came with the melody, the chords and the lyrics. We built the rest together, playing and arranging. It was a real band collaboration.
Marangolo: It was a team approach, but with great professionalism. We recorded live, even with the technical difficulties that this entailed. And Pino was open to everyone's ideas.
Vitolo: His leadership was natural. He had clear ideas, but he knew how to listen. Teamwork was key for him.
Do you want to tell us some personal memories that connect you to Pino?
Marangolo: For a while we went on holidays together in the Tremiti and to get there we took a helicopter. Pino was terrified, but he didn't want to give up the experience. He liked to live life and not give up anything, even if he always repeated “what if the helicopter crashes?”. He was ironic and full of life, even if he later moved away from Naples.
De Rienzo: Pino in general was down to earth. He had an English sense of humour, but he was also practical and rational. It is thought that artists must be crazy, but he wasn't. He was an incredible talent with a boundless love for music and the guitar, but after a few years he asked me: “Have you bought a house?”. He was someone with big shoes and a fine brain.
Vitolo: I remember Pino from the beginning, in authentic moments before success. After that it changed, as often happens. One day he arrived at the studio, he was wearing a vest, and I said to him: “Pino, have you put on weight?”. He didn't speak to me for three days… Apart from that, I carry in my heart our listening to music in the evening wearing the walkman and drinking wine under the stars.
You listened Againthe unreleased one published last November?
Marangolo: She seems like a slut to me… To not be vulgar, I say that she's a slut. Pino probably wouldn't have let her out. There is a lot of material that could have been worked on better.
DeRienzo: It's exciting to hear his voice, but it's clear that it's an unfinished piece. If he had been alive, he certainly would have developed it more.
Vitolo: I agree. It is a breath of life, but it does not represent the Pino we know. It was certainly published more for market needs than for real artistic value.