DAVID BOWIE ONCE SAID HE thought he would mainly be remembered for his wide-ranging hairstyles. It was a modest response to an inane interview question. In reality, of course, Bowie was an iconic figure who had a deep impact on the British cultural landscape. His early death (aged 69) last year prompted an outpouring of commemorative works from artists, musicians and writers wishing to pay tribute – and now an Italian pianist has painstakingly arranged Bowie’s oeuvre for piano.
Francesco Digilio is a lifelong fan of the ‘British genius’: ‘Bowie is an artist I’ve always followed very closely,’ the Puglia-born musician explains. ‘I loved his extravagances; he was a volcano of ideas. His writing ranged from folk and electronic to glam rock and soul. All these styles influenced me as a classical pianist.’ Bowie’s untimely passing prompted Digilio to take up an idea that had been germinating for several years, and he began transcribing Bowie’s music for piano. ‘It wasn’t easy,’ Digilio laughs, ‘there is a variety of atmospheres and colours in the songs. It was hard to translate for keyboard.’ Nonetheless, pieces such as Space Oddity do manage to capture the timbre of a bigger ensemble. Digilio uses the full range of the piano, moving from an initial focus on the middle octaves to represent the vocal line, through to the extremities of the keyboard to signify instrumental development.
Purists may struggle with some of the transcriptions – after all, there is only so much that can be translated from multiple instruments to a single keyboard. The opening to Life on Mars lacks the atmospheric intensity of the original, for example, and Changes is a little saccharine. However, the open-minded listener will find this collection has plenty of bite. Lazarus is poignant and moving; Digilio’s interpretation of the modulating passages is glorious. The arrangements of Rock ‘n’ Roll Suicide and Ashes to Ashes also work well on the piano, particularly the undulating motifs of the latter. Bowie’s melodies are so lyrical it’s easy to forget these pieces ever had words. The transcriptions were recorded towards the end of 2016 and released as A Tribute to David Bowie. The process was an opportunity for Digilio to deepen his connections with the late popstar’s output: ‘Bowie has always been an inspiration for me. I hear something new every time I listen to one of his songs.
He is hypnotic, and makes you travel with your mind. He elevated rock music to an art form’. Digilio started playing the piano when he was seven years old. At 18, he began composing in earnest, and moved from Corato, in southern Italy, to Rome, where he collaborated with singer Bobby Solo, songwriter Fred Bongusto and instrumentalist Lino Patruno, among others. ‘My main influences are Bacharach, Einaudi, Yiruma, Moby and Bowie,’ says Digilio. Today, the pianist works primarily as a producer, creating jazz, smooth jazz and new age records. Digilio also has a base in London, through his publishing arm Digi Beat, which has over 15,000 titles in its catalogue. The music is distributed online, mainly via streaming platforms.
Meanwhile, Digilio’s latest album, The Shades of Smooth Jazz, was released earlier this year, featuring guest alto/soprano saxophonist and flautist Eric Daniel, who has performed with Tony Bennet, Ella Fitzgerald and Stevie Wonder. This time, his inspiration comes from very different sources, including leading saxophonists Euge Groove, Walter Beasley and Kim Waters, infused with evocations of Sardinia’s rugged landscape.
Francesco Digilio’s A Tribute to David Bowie can be downloaded from iTunes and Napster or streamed via Spotify and Deezer