I am happy and honored to be part of the group of musicians and dancers chosen and coordinated by the Palestinian artist Emily Jacir and her Dar Yusuf Nasri Jacir for Art and Research (Bethlehem) within the collective project selected as a collateral event at the 60th Biennial of Venice:
South West Bank   Landworks, Collective action and Sound   Artists + Allies x Hebron

It is an immense emotion to bring my “tarabtella” into the work focused on the encounter between Southern Italy and Palestine that Emily has been courageously carrying forward since 2019.

the exhibition can be visited at the Biennale at
Magazzino Gallery, Palazzo Polignac, Dorsoduro 878 (Venice)
20 April – 24 November 2024

watch the video 👉🏼 https://darjacir.com/Il-Mare-in-Mezzo-Suoni-e-canti-dal-Mediterraneo

MARESIA the new Fabrizio Piepoli solo album is finally out and available on digital stores and record stores.
Produced by Zero Nove Nove and digitally released by Believe Italia. Cd distribution: Self (Italy), Inouïe (France), O-Tone-Edel Kultur (Germany, Austria, Switzerland), Xango Music (Belgium, Netherlands, Luxembourg).

Two singles brought the album release forward : Occhi de Monachella, followed by a live videoclip; and Melagranada Ruja, followed by official video. Both videos were directed by Gabriele Vitale, shot at Palazzo Pesce (Mola di Bari).

Maresia is a work that explores popular and original songwriter music from Puglia and Southern Italy with a Mediterranean attitude and a meticulous search for sound, which have always been the hallmarks of the musician from Bari. Fabrizio Piepoli’s voice is a flowing universe, with a strongly ‘melismatic’ style that allows several notes to be sung to one syllable of text. His light tenor voice allows him to dip down to the low, baritone register sounds while also reaching up to the acute mezzo-soprano ones. He has a sophisticated voice that continuously plays with its own identity, with the masculine and the feminine, and with the East and the West. The battente, or ‘beating’ guitar typical of Southern Italian tradition, the Arab oud, and the Turkish saz, often filtered through effects and loop machines, are the instruments that accompany Fabrizio Piepoli’s singing. All this put together with the passionate tale of his roots is what breathes life into a new sound: the TARABTELLA, where Apulian tarantella meets the tarab of the Arab melody, the joy of dance, and the ecstasy of listening. The rhythmic, three-note gait of the tarantella, the rediscovery of Marisa Sannia and Amalia Rodriguez, and the dialogue between the Gargano tarantella and Portuguese fado all animate and define this valuable, intricate album made up of melodic pathways. What further embellishes it is research into the Carpino singers and a love for traditional Arab and Turkish instruments, as well as the Arbëreshë tradition and migration songs.