Uplift

Giuseppe Pucciarelli is an Italian guitarist who got started playing his native folk music his father bought him a classical guitar for his fifth birthday. He managed by himself until age 10, when the family got him classical quitar lessons. He added jazz to the mix a tew years later, and then, still quite young, moved to London for study at the Guildhall Gigs at prominent London clubs followed. Pucciarelli also began to teach what he'd learned, including music theory, jazz harmony, composition, and improvisation. He was still only 23 when he cut his first album; this one is his fourth, and he allows that it's credited to "The Pucc- iarelli Group" because he feels this quartet so strongly. As a composer and a player, he's just kept growing. The foursome starts the set off slow and easy with "Uplift," chords calmly considering options behind the leader's gently growing lines. (He wrote with pianist Ergio Valente and drummer Marco UPLIFT Gagliano in mind, and bassist Aldo Capasso's an old friend anyway.) The music eventually shifts brisker, then downshifts again for three out of four- Gagliano capers over the top, a lot of gas still in his tank. "Kenny's Time" rides into double time, Puc- ciarelli overshadowing Capasso to sound like a bass himself playing the funky break. Piano and guitar rush along- side each other, a mu- tual admiration society sealed in smoothness, although thrumming bass and drums like quietly breaking sticks furnish roughage. Capasso gets a short bass solo on "Bolo, sounding determined to wryly milk every second. The interplay throughout deserves high marks. I'm curi- ous to see if they stay together, and where they go from here.

Giuseppe Pucciarelli arrived in London to study at the Guildhall, subsequently staying on to work at London's many jazz venues. Uplift is his latest recording with his established all-Italian quartet. The chordal instruments - Pucciarelli's guitar and Ergio Valente's piano (and synth) - share the solos and bassist Aldo Capasso (upright and electric) lays down one or two of his own. Band leader Pucciarelli has been at pains to point out that this new album is 'The Pucciarelli Group' rather than 'Pucciarelli with sidemen'. As with many composers, Pucciarelli has written the material with his band mates in mind. All seven compositions are by Pucciarelli. Comparisons immediately spring to mind: Kenny Wheeler and associates (Kenny's Tune), John Taylor (a Wheeler associate) and Pat Metheny (the set closer Did You Know?). It could be said the American superstar is an influential figure for many contemporary guitarists, although in Pucciarelli's case he has a welcome bluesy edge to his playing.

Another example of the Ubuntu label’s successful mining of the rich seam of Italian jazz talent to list alongside Marco Tranchina,  this album of original material explores Metheny-esque territory where jazz harmony and textural sophistication meets the straightforward melodic and rhythmic appeal of rock and folk forms. ‘Bolo’ has a lyrical directness, powered by Capasso’s electric bass and Gagliano’s precise but sensitive drumming, so that you can easily imagine the addition of vocals: ‘Kenny’s Time’ has a haunting, evocative quality, with tumbling keyboard ostinatos and acoustic bass, while ‘What I’ve Seen’ is a fingerpicked acoustic guitar ballad that fits well with the advanced ‘Americana plus’ sound of Julian Lage. Throughout Puccuarelli’s stated dedication to melody is always to the fore, and the band support his compositions superbly and bring a real group feel to proceedings. Solos are shared around between Pucciarelli’s cleanly articulated singing-toned guitar, Valente’s rhapsodic piano and Capasso’s fleet bass but the overwhelming impression is of the wonderfully empathetic group interplay. Those looking for the challenge or rawness of cutting edge jazz should perhaps look elsewhere: those seeking the solace of melody and pretty texture, and delighting in well crafted music beautifully played, should check this out.