Rita Marcotulli: Crafting a Self-Portrait Through Jazz and Passion

Before her solo piano performance at the Connetto Festival Jazz 2025, we sat down with acclaimed Roman pianist and composer Rita Marcotulli to discuss her artistic evolution, the influence of technology, and the challenges and opportunities for young musicians in today's jazz scene.

All About Jazz: Let's begin with your Autoritratto project, a return to solo piano. What inspired this introspective work?

Rita Marcotulli: I named it Autoritratto—Italian for "self-portrait"—because it reflects my life's journey, an invisible path, like a "film invisible." It weaves together original compositions and tributes to artists I've collaborated with, like singer-songwriter Pino Daniele. Working with him was a profound experience. This project captures what I cherish most: my love for cinema, my second passion, and the musical experiences I'm proud of, all woven into a personal narrative.

AAJ: You spent a formative period in Scandinavia. How do you reflect on that time?

RM: My Scandinavian period was transformative. During that era, while many American jazz musicians were touring Europe, a vibrant European scene was emerging, particularly through the ECM label. I was drawn to its distinctive sound. Through my friendship with Michel Petrucciani, I connected with musicians like Palle Danielsson. Their music wasn't about virtuosity for its own sake but about forging a unique path. Technique and language mattered, of course, but the emphasis on personality is what captivated me. The greatest artists, like Thelonious Monk, were trailblazers because of their individuality.

AAJ: Your career spans classic jazz, Nordic jazz, pop, and award-winning film soundtracks. Are these diverse pursuits part of a single path or separate journeys?

RM: I simply love beautiful music, regardless of genre. My curiosity drives me to compose, drawing inspiration from life, other art forms like painting, and diverse musical traditions. Indian music, with its intricate rhythms, has influenced me deeply, resonating with jazz in unexpected ways. Brazilian music, too, has been pivotal—my first live performance at 16 or 17 was with a Brazilian percussionist who played with Irio DePaula. Artists like Joao Gilberto and Elis Regina have been touchstones. Every musical encounter has enriched my work.

AAJ: You began your career young, collaborating with legends. How has the landscape changed for young musicians, especially women, since your early days?

RM: The jazz world has changed a lot. When I started, formal jazz education was scarce. I relied on classical training and learned jazz by listening to records. My fortune was playing with legends like Billy Cobham, who invited me to tour after hearing me in 1989, and Dewey Redman, with whom I collaborated for 15 years. Those experiences—learning on the job—were invaluable. Today, young musicians have access to exceptional training and online resources, but they often miss the chance to learn by playing with seasoned artists. I've always embraced diverse genres, believing there's only good music and bad music. Every experience has shaped my artistic identity.

AAJ: How do you view the preparation and approach of today's emerging musicians compared to your early years?

RM: Young musicians today are technically extraordinary—more so than in my time. But an overemphasis on virtuosity, like complex time signatures, can overshadow music's deeper meaning. You can be a phenomenal player, but then you hear a record by someone like Monk, who said something unique, and you realize there's another level. Technique should serve expression, not dominate it.

AAJ: So, while academic training equips musicians with incredible skills, the challenge is finding their own voice?

RM: Exactly. Today's jazz programs provide deep knowledge and versatility, unlike the "on-the-job" learning of the past. But after mastering the craft, musicians must embark on an inner journey to discover their unique voice. Early on, it's natural to showcase skill, but over time, virtuosity should become a tool for expression, not the goal.

AAJ: You've said musicians need to "play to live, not just live to play." Can you elaborate?

RM: Touring taught me that. I performed with artists like Italian singer-songwriters Francesco De Gregori or Eugenio Bennato, and in theater with actress Rossella Falk—each a masterclass in itself. Working with Pino Daniele taught me synthesis. His chord progressions were unconventional, requiring me to say everything in a concise solo, maybe 10 or 12 bars. Learning to "subtract" and distill expression was a powerful lesson.

AAJ: What advice would you give young musicians about balancing curiosity, openness, and the compromises often required in a music career?

RM: Compromises are sometimes necessary, especially to reach an audience familiar with certain material. But the key is how you approach things like a tributes project in honor of musicians who are household names, for instance. A straightforward cover lacks depth; transforming an idea into something personal is what makes it a creative journey. Authenticity, not replication, is what matters.

AAJ: Beyond performing—you have served as a judge in Italy's ultimate pop festival, the Sanremo Festival—you have advocated for legislative support for jazz. What's the current state of the jazz world, and what does it need most?

RM: It's a challenging time. There's an abundance of talent, and today's musicians are remarkably open to diverse genres—more so than in the past. But the focus often leans toward quantity over quality, especially at major festivals, which can sideline lesser-known artists. That's why I founded Under 29 but Me, a group to give young musicians performance opportunities. Their energy inspires me, and it's a chance to nurture the next generation.

AAJ: Beyond Autoritratto and Under 29 but Me, what's next for you?

RM: I'm planning to record with Under 29 but Me and create a new solo piano album. I'm also working on a multimedia tribute to Caravaggio, featuring images and texts by Italian writer Stefano Benni. It's an ambitious project that excites me as a composer.

AAJ: Going back to Autoritratto: is it entirely based on spontaneous improvisation?

RM: Completely. I thrive on improvisation and never plan exactly what I'll play. It's about embracing the moment.

AAJ: Some pianists have performed transcriptions of iconic improvisations, such as Keith Jarrett's Köln Concert. What's your take on this approach?

RM: It's an interesting way to engage audiences, but it's complex. Playing someone else's improvisation, like Jarrett's, risks becoming an act of interpretation rather than creation. Thomas Enhco, a talented French pianist, shared that Jarrett himself encouraged him to improvise originally rather than mimic his music. Improvisation is personal—a leap into the unknown, mistakes and all. As Picasso said, "If you know exactly what you're going to do, what's the point of doing it?" That's the heart of jazz.

AAJ: Your multimedia projects hint at an embrace of technology. What are your thoughts on AI and its role in music, particularly in improvisation and production?

RM: I'm open to AI as a tool, not a replacement for creativity. I experimented with it alongside my daughter, and while it's fun, AI generates collages of existing ideas—nothing truly original. Human input is essential for creation and interpretation. I'm curious about how AI might enhance improvisation, but originality remains a human domain.

AAJ: What about AI-generated tracks on streaming platforms and their impact on music consumption?

RM: That's my concern. If superficial, algorithm-driven music dominates, audiences may lose the ability to discern quality, much like in literature or other arts. Live performances, however, are different. They carry the human energy, the flaws, the connection. As Oscar Wilde put it, "To be perfect, it lacked a flaw." Our imperfections are what make us human, and that's what we must cherish in music.

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