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“Until there are openminded musicians like Kekko Fornarelli, jazz will always be the music of the world.. His, is an intimacy made of rich melodies and harmonic sounds reminding delicate shapes of modern jazz, enriched by his personal touch, making him one of the most interesting young pianists of the moment.” (Paolo Fresu)

Jazz as instrument to tell history, emotions, situations.. This is the wire conductor of music of the eclectic piano player and composer Kekko (Francesco) Fornarelli, born in Bari, Italy, in 1978. He approached the instrument at the age of 3 years, first studying classic piano privately and then at the Conservatory "Niccolò Piccinni" in Bari. At the age of 18 he falls in love with jazz music, almost by chance.. world with which he tightens a strong tie and that completely absorbs him in an intense research on his instrument, on style, on the globality of music. He, nearly immediately, makes numerous travels and experiences in order to draw all possible instruction from the comparison with the Italian and European artists. In 2005 his first disc is released, "Circular Thought" (Widesound), considered by the specialized critic like one of the best Italian jazz discs of 2005. Moved in France in 2005, Fornarelli continues his research collaborating with artists (Manhu Roche and Rosario Giuliani) that carry him to write and to produce his second disc, "A French Man in New York” (Widesound, distributed from september 2007), work inspired and dedicated to the figure of the French piano player Michel Petrucciani. Already considered as a great talent in Europe, so far, despite his 29 years he already has, in his projects, the collaborations of prestigious artists of the international scene jazz like Rosario Giuliani, Flavio Boltro, Michel Benita, Francesco Bearzatti, Yuri Goloubev, Jérôme Regard, Manhu Roche, Andy Gravish, Marco Tamburini and many others..

“Kekko Fornarelli is not a pianist belonging to a standard: dry style, essential and measured, but also scathing and slanting, since his melodic choices are never obvious. His style shines of anthological knowledge but also shows clear originality. In his music you soon find those common features discussed above, belonging to the jazz movement in Puglia (almost a chromosome modernity, a surprising sense of time, in all senses), but especially we find important potentialities. His music, far from the common chord structures, is able to tell stories and evoke characters; it is like a soundtrack of imaginary films, or the musical translation of emotions to hold, sensations to be put among the lines of a stave.” (Vincenzo Martorella, Jazzit)

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