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Dine Doneff

Born in West Germany to Macedonian parents and raised in the Northern Greek prefecture of Edessa, Dine Doneff (or Kostas Theodorou, his Greek citizenship name) has been active as a musician and composer since the mid-eighties. Faced with the choice between school and music, he left his home village and fled to Thessaloniki. Educated his inner soul by exploring life through music, he became a self taught musician.

By the 90’s he was working as an arranger, ensemble director and producer on studio recordings. Alternating between touring abroad, he joined the group Savina Yannatou & Primavera en Salonico in 2001, with four albums released by ECM; From 2002 to 2005 he taught at the Technical Education Institute of Epirus and the University of Macedonia. Later, under the fictional auspices of ‘no bizz productions’, he became the pivot, and inspiration, of ninety nine (99), improvised public rehearsal performances in a small underground theatre in Thessaloniki from 2005 to 2011 involving onstage encounters between Doneff and musicians, dancers, actors, poets and visual artists. Interludes of composing for the theatre and silver screen interspersed with forays into theatre direction and, under the name of Tome Rapovina, directing and editing short films. From 2014 to 2016, he worked as a composer and actor with the Kammerpiele , in Munich and the Thalia Theater in Hamburg and from 2014 he has been living in Munich.

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Album Review
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IN/OUT neRED-ECM album review, Jazzthetik Magazine

Dine Doneff hails from Macedonia. He grew up in Northern Greece where at times people were forbidden to speak the Macedonian language (Doneff’s ethnic mother tongue). Could it be that conditions of severe repression can help to develop the artistic eye? In any case, Doneff has eagerly and without prejudice, drawn from many musical sources that go far beyond the diverse influences of local folk music. Jazz has always been a connecting force at play, but the outlook of this highly talented multi- instrumentalist flies high above categorisation and is most especially far removed from any hackneyed world music crossover. Dine Doneff’s second, very short album invokes an imaginary theatre

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