The search for sound takes place in solitude, thinking, creating and freeing oneself from the masks with which one approaches others. Eroding the technical and physical limits on one’s own communication tools to obtain silence, a privileged condition to act.
The research for the artist in solo is based on this idea: the clash between images experienced or simply seen and his emotionality as a man, the technique and the scream with their inability to coexist or with their all too easy possibility of being one.
Marco Colonna born clarinetist, starting when he was seven, and until he was fourteen he wasn’t exactly a good student, then the music became his life… or maybe music saved his life too.
Grew up With a great masters like Gaetano Zocconali – a controversial and not famous figure but that many of the musicians trained in Rome in the last thirty years know well – and Harry Sparnaay, the inventor of the contemporary bass clarinet, to whom I owe a great deal in terms of knowledge, attitude and personal growth.
Lawrence “Butch” Morris also trained Colonna in the approach to teaching, to the sphere of resolution of the gesture, to love for the moment as only a great Maestro could do.
Marco defines himself as self-taught: he played a lot and in the most varied areas and and learned by making mistakes often. He travelled the world with ethnic music, forced his limits with contemporary music, manifested his political thought with jazzcore and lived the highest experiences with improvisation.
He played with Andrew Cyrille, Agusti Fernandez, Evan Parker, Zlatko Kaucic, Danilo Gallo, Silvia Bolognesi, Roberto Bellatalla, Fabrizio Spera, Omar Tamez, Edoardo Marraffa, Cristiano Calcagnile, Fabio Sartori, Roger Rota, Stefano Giust, Roberto Ottaviano, Alexander Hawkings, Gianni Mimmo, Izumi Kimura, Umberto Petrin.