Matteo Mancuso: “The Journey” (2023) – Album Review

Summary

Sicilian guitarist Matteo Mancuso’s debut album “The Journey” showcases a mesmerizing blend of jazz, rock, and fusion, solidifying his presence in the guitar world. From curious openers like “Silkroad” to soulful numbers like “Polifemo” and a touching acoustic closer with his father Vincenzo, Mancuso’s compositional talent and classical-inspired technique shine through. Dive into a record that is not only a testament to Mancuso’s musical skills but also a bridge between jazz aficionados and newcomers alike.

Album Info

Introduction

Sicilian guitarist Matteo Mancuso seemed to erupt out of nowhere to take the jazz, jazz rock, and fusion guitar world by storm. The 26-year-old player boasts a list of admirers that would make anyone’s eyes pop; we’re talking the likes of Al Di Meola, Steve Vai, and Joe Bonamassa here. Inspired by his father Vincenzo, a noted session player, Matteo started playing classical guitar in school and by the age of 12 became a rising figure of note in the local jazz scene, having honed his talent at numerous jazz festivals around the world.

So, emerging “out of nowhere”? Hardly. Mancuso is a seasoned pro, one who’s been playing this game for a while. Armed with a Yamaha Revstar, a classical-inspired fingerpicking style, Herculean levels of tone, technique, and phrasing, and prodigious talent by the boatload, Mancuso released his debut album The Journey in July of 2023. The result is a deeply enchanting work, a commanding display of talent and engaging jazz musicality.

Review

The album opens in a curious manner with “Silkroad”, which starts as a serviceable if well-presented blues rocker, albeit one that doesn’t seem to be entirely indicative of his style and talent. At least, until the final third of the song, when it shifts into another realm entirely. The heavier shred style evolves into a classical tinged acoustic riff that not only converges well with the more rock elements, it’s a wondrous display of Mancuso’s technique and compositional prowess.

The jazzy smooth grooves dominate with “Polifemo”. Mancuso’s soulfully delivered licks lock in gracefully with Stefano India’s silky basslines, Giuseppe Bruno’s tasteful drum work, and some playfully melodic piano from Giuseppe Vasapolli. The aptly-named “Falcon Flight” takes to the skies as a busier, more uptempo number. Mancuso really flexes his chops with a kinetic display of technique layered above a shimmering rhythm guitar accompaniment and engaging use of bass, drums, and organ.

“Open Fields” invokes a pastoral atmosphere, thoughtful and transcendent. Again, what draws me in is how his contrapuntal riffs and melodic accompaniments create a structural foundation and harmonize beautifully with his leads. It builds into a busier, commanding crescendo, but the transition is earned; never jarring or abrupt.

“Drop D,” the lead single from the album, presents a distinct jazz-rock showcase of Mancuso’s musical prowess.

“Drop D” brings a lot of elements to the table: a bit of funk, some hard rock/metal crunch and shredding, heavy overlays of prog innovation, and light and shadow dynamics in service of a compelling and driving groove. “Blues for John” is a kinetic explosion of both blues and swing, burning like solid rocket fuel over its runtime. It grows more boisterously impressive as Mancuso ups the virtuosity throughout, performing impressive displays of musical articulation before seamlessly recapitulating at the finish.

“Time To Leave” opens with a soft Brazilian feel, establishing itself as gentler but no less commanding acoustic number on classical guitar. Again, while Mancuso’s guitar work shines, the harmonious synergy with the entire band really delivers a compelling listen. This is a piece that transcends the sum of its parts.

“Samba Party” is the second of the album’s two pre-release singles, and this one cooks just as much as the debut single. Albeit with an entirely different groove. It fuses jazz and Latin into a wondrous concoction, yet retains an airy quality that I can’t quite quantify. But then quantification is overrated, isn’t it?

The album ends with the title track, a soft acoustic piece featuring Mancuso’s father Vincenzo on classical guitar. The Mancusos together bring a gentle beauty and melodic assuredness to the table. There are alternating currents of melancholy and uplift to this track, exemplified by both lead and rhythm melodies. Each plucked on classical guitar, working together to construct a memorable final statement to close out the album.

And in closing…

What a find The Journey turned out to be. This record serves as the perfect introduction to Matteo Mancuso for those who haven’t been privy to his rise to guitar prominence over the last several years. It’s accessible enough for the jazz-averse, yet engaging enough for existing jazz, jazz rock, and fusion fans. As debut albums go, The Journey delivers a powerful opening statement that we hope will continue to resonate for years with the same commitment to quality and artistry.

What similar albums does ChatGPT recommend?

While it behooves me to remind my readers that every word you just read is 100% Mills, let’s ask our friendly neighborhood AI for some similar album recommendations.

Continuum – John Mayer (2006) Drawing from blues, rock, and a bit of jazz, John Mayer’s “Continuum” serves as a rich tapestry of soulful guitar work, introspective songwriting, and top-tier musicianship. The album, anchored by hits like “Gravity” and “Slow Dancing in a Burning Room,” showcases Mayer’s undeniable guitar prowess, making it a must-listen for any fan of Matteo Mancuso’s nuanced, genre-blending style.

The Epic – Kamasi Washington (2015) This three-volume jazz tour de force by saxophonist Kamasi Washington stands as a modern testament to the limitless boundaries of jazz. With lush arrangements, intricate melodies, and a palpable sense of passion, “The Epic” serves as a panoramic view of contemporary jazz, a panorama that any fan of “The Journey” would appreciate for its depth and breadth.

Currents – Tame Impala (2015) Kevin Parker’s psychedelic project Tame Impala ventured further into the realms of synth-laden pop with “Currents,” but it retained the strong musicianship and intricate production quality that fans of Mancuso might appreciate. Songs like “Let It Happen” and “The Less I Know The Better” not only boast catchy hooks but also intricate instrumental layers that reward attentive listening.

Where The Light Is – John Scofield (2016) Esteemed jazz guitarist John Scofield’s “Where The Light Is” delves into a fascinating blend of jazz, blues, and gospel. The album’s tracks, enriched by Scofield’s distinctive touch on the guitar, weave a narrative that’s both uplifting and deeply contemplative. For those who admire the fluidity and expressiveness of Mancuso’s playing, Scofield’s work on this record is bound to resonate.

Migration – Bonobo (2017) While Bonobo – the stage name for Simon Green – operates primarily within the electronic music sphere, his album “Migration” is an exploration of world sounds, organic instrumentation, and lush sonic landscapes. The album is a testament to the versatility and depth possible within electronic music, merging global influences in a seamless, sophisticated manner. Fans of Mancuso’s worldly, genre-fusing style may find Bonobo’s intricate compositions both refreshing and familiar.

Output from ChatGPT, OpenAI to Mills 01 August 2023