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Alberto Forino

Alberto Forino began studying music at a very young age, he graduated in piano with Alberto Ranucci at the Conservatory of Brescia, then he studied Jazz and improvisation first with Roberto Soggetti and later at the Civic School of Jazz in Milan under the guidance of Franco D'Andrea, participating in the workshops held by Stefano Battaglia and earning a second-level degree in Jazz at the Conservatory of Vicenza with Paolo Birro. Over the years he participated in several courses, seminars and masterclasses with Pietro Tonolo, Fred Hersch, Lukas Ligeti, Rossano Emili, Roberto Dani, Kyle Gregory and others.

Active in the field of Jazz with formations in his own name and as a sideman he collaborated with Alberto Zanini, Andrea Bolzoni, Gabriele Rubino, Gionata Giardina, Giulio Corini, Filippo Sala, Giuseppe Santangelo, Paolo Bacchetta, Michele Carletti.

In recent years he has dedicated himself to free improvisation, in particular in the form of solo piano with a series of performances, still in progress, called Egos: a path of musical research shared with the public. These concerts develop without any preconceived material; the music takes shape extemporaneously from basic elements that are developed to constitute a broader general story. The use of extended techniques gives these performances a peculiar sound. For these performances he was invited to the Steinway Corner of PianoCity Milano at the Fondazione Pini (2016, 2018, 2019 and 2021 editions) and at the Steinway exhibition hall of Passadori pianos in Brescia. In September 2020, thirty of these concerts reserved for individual listeners formed the Housing Egos festival.

Subsequently a similar initiative was hosted under the name of Hosting Egos at the Steinway exhibition hall of Passadori pianos in Brescia. Very active also in musical theater, since 2006 he collaborates with Barbara Mino as a pianist in reading and cultural promotion projects. Since 2008 he collaborates with the actor Antonello Cassinotti in the show "Pinocchio ReadyMADE": a radio reinterpretation of the text of Collodi combined with improvised music on the piano. In 2015 he began collaborating with Giuseppe Goisis composing the music for "Eroi", a story made of lyrics and music and for "QSiN", a show taken from a text by Tommy Wieringa. In 2021 within the initiative "Dante. Settecento e più risvegli" for the celebrations of the seven hundred years since the death of Dante Alighieri has set music for the company “Centopercento Teatro” some incursions (shows- reading) by and with Antonio Panice. He also wrote, edited and participated in the production of music for theater shows including "Oscar e la Dama Rosa" and "La Gabbia" of the “Forest Theatre company” directed by Andrea Frati.

Alberto Forino: Tiny Toys

Read "Tiny Toys" reviewed by Giuseppe Segala

by Giuseppe Segala
April 25, 2024

Non è facile dire qualcosa di nuovo nell'ambito del trio con pianoforte. È un sentiero indagato a fondo nel jazz, con esiti di altissima intensità artistica, dialogica, umana, paragonabile a quanto è stato fatto con il quartetto d'archi nella musica accademica occidentale. Certo, all'interno di questa formula, nella grande quantità non mancano le proposte rese anemiche dalla routine. Eppure, come in un congegno in costante rigenerazione, si impongono ancora nuove letture, approcci con una reale originalità, così che all'interno di ...

"The opening act of the album is "Orco", which includes the partly cascading sequences performed by the pianist. In the background the bass player acts as second voice. If one compares what one hears with running water, which catches itself in rock basins, which are caught in narrow rock breakthroughs and flows rushing along, one has already found a suitable image for the music. "

Ferdinand Dupuis-Panther - Jazz'Halo

"Forino does not use the tradition for piano trio as a mirror for the architectural and executive layout of his compositions: just a fleeting listen to «Tiny Toys» to understand that it does not reflect anything we had «seen» or heard before in the context of the plan-trio-standard, there is no recourse to certain rules of engagement or certain «bignamini» ready to use for experienced pianists. Rather, Fiorini proves to know all the dynamics of jazz of the twentieth century, regardless of the assembly kit useful for a project in piano-trio. On the record, as we said, there is the playfulness of Monk, but also the rigor of Mingus, the formal elegance of Bill Evans, the ability to escape of Keith Jarrett, the dissonant power of Cecil Taylor, the transversality of Coltrane, the idiosyncrasy of Miles Davis, the abrasiveness of Ornette."

Ferdinand Dupuis-Panther - Jazz'Halo

Francesco Cataldo Verrina on DoppioJazz Magazine

"Tiny Toys ruota evidentemente intorno alla creazione di composizioni intese non nel tradizionale senso del termine né tanto meno dei canovacci. Certo esistono i temi ma non cristallizzati in una griglia immobile. Parliamo di cellule, di elementi minimi dotati di senso e funzionali ad una ricerca coraggiosa. Evidentemente dotati di un potere semantico e suggestioni apparentemente indefinibili questi “tiny toys” sono funzionali ad un gioco che i nostri attori prendono evidentemente sul serio e di cui condividono le regole. Regole per noi di non facile comprensione ma che, nell’evolversi della musica, lasciano cogliere un senso del divenire e gli elementi disseminati di una grammatica generativa che dimentica e ritrova i suoi assunti. (...)Questa opera prima del pianista bresciano è un contenitore di eventualità che racchiude in sé i semi di un modus operandi di cui sarebbe interessante conoscere gli sviluppi futuri."

Gianni De Vincenzi - JazzEspresso

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