Gianluca Mosole
No Title

Mosole's journey has, over the years, become increasingly reluctant to emerge, due to a mutation of the times and the musical tastes of this peninsula, which have often underestimated and mortified the work of other deserving local artists as well.

At the dawn of the '80s, Gianluca Mosole, a very young left-handed guitarist and multi-instrumentalist from Treviso, came out with a highly successful EP, "After Rain," in which almost all the main influences emerged: Benson, Metheny, Earth, Wind & Fire, and a broad reference image of fusion/funky. His technique was already astonishing compared to the scene trendy at that time.

Other more or less successful projects followed ("Eartheart," "Tepore," and "Magazine," above all) garnished with the remarkable presence of prestigious international guests (Nana Vasconcelos, Miroslav Vitous, Hiram Bullock, Airto Moreira) and gradually receiving more and more convinced feedback from the public and specialized press.

Performances with Miles Davis, Sting, Al Di Meola, or at various jazz festivals across the peninsula contributed to spreading Mosole's name and creating, albeit small, a loyal and affectionate following.

Then, after almost 15 years of absence from the parajazz scenes, the man reappears.

Having spent much of the elapsed time with more or less commercial formations and projects focused on dance, he returns with a strong, heartfelt album, enriched by an enormously increased experience both in composition and performance.

The meticulousness, in the vein of Donald Fagen, with which even the most infinitesimal detail is curated, immediately catches the eye and the musical directions are manifold; from the Brazilian vibe of “Carioca” to the classy revamps of “The Look Of Love” by B. Bacharach or “Georgy Porgy” by Toto. A thrilling and taut “Nardis” in memory of Davis strikes with its impact; “Susy” brings back the mood to that comfortable reassuring atmosphere with deeply intense harmonies, to which Mosole had already taken us in some previous production episodes.

“No Title” and “Hey Pat!” are perhaps the episodes where the debt of the Treviso guitarist to Metheny's compositional methods is most evident, and the closing “Amarsi un po'” by Battisti surprises with the originality of the choice and the rendition.

Pleasant sung episodes are not lacking, where the voices of the guests on the occasion, Cece Rogers, Manuela Panizzo, and Moony, have the opportunity to shine.

It's a way to ideally reconnect with a discourse interrupted a long time ago by Mosole in the field of Fusion, allowing the chance to listen to one of the most interesting Italian guitarists in the realm of electric jazz.

We can only hope that we will not have to wait another 15 years before our left-handed guitarist delights us with a new creation.