Matteo Mancuso - The Journey
To say there has been a bit of a buzz these last few years about young Italian guitarist Matteo Mancuso would be quite the understatement.
Indeed, unless you have no interest in guitar-led music, you cannot fail to have heard of the Sicilian born, 26 year old whizz-kid with the unusual and highly distinctive playing style (almost like a hybrid of flamenco/ classical/ chicken-picking).
Matteo Mancuso can cover numbers by Alan Holdsworth, cut loose with a flurry of flawless arpeggios and deliver a solo at breakneck speed whilst still exuding musicality; he’s also had various luminaries of the guitar world extolling his virtues, including Al Di Meola, Steve Vai, Tosin Abasi and Joe Bonamassa.
Yeah… he’s pretty good.
Matteo Mancuso is also raising the bar for the next generation of guitar players, word of which has been on the interweb since 2017 when, as part of a trio called Snips, Mancuso and his bandmates took on jazz-rock and fusion elements (their version of 'The Chicken' has now 2.4M views on YouTube).
Covers of Holdworth/ Weather Report/ Metheny numbers, acoustic performances with Al Di Meola and Tommy Emmanuel, plus sets that include homage to the late Jeff Beck, have also enhanced his reputation.
In fact, the only question remaining about his prestigious musical talent is can he write decent songs?
The answer to that is a resounding yes, as heard on debut album The Journey, one of many albums delayed by the Covid-19 pandemic and lockdowns (writing sessions for the album, recorded at fico d’india studios, Casteldaccia, Sicily, started in 2020).
The album was recorded by Matteo’s father & musician Vincenzo Mancuso (who also plays acoustic guitar on the title track and co-wrote two of the songs), with an excellent mix from Andrea Secchi.
The Journey also features the talents of bassist Stefano India and drummer Guiseppe Bruno, with additional musicians Riccardo Oliva (bass), Gianluca Pellerito (drums) and Guiseppe Vasapolli (piano, organ) featuring on two songs apiece.
As regards the songs and their styles the album is well named, encompassing as it does Matteo Mancuso’s musical travels these last six years from rock, prog and fusion to bebop and modern jazz.
'Silkroad' kicks off the album in muscular fashion with a big riff and a prog-rock vibe; the use of the whammy bar to dive up and down to notes has echoes of Scott Henderson’s work.
A few lightning fast runs preface the middle eight which sets up the change of pace to a classical guitar figure, which is then overlaid with another meaty riff and the main melody line in the outro.
Chick Corea would have approved.
'Polifemo,' which follows, is a jazz-inflected number with clean guitar tones and some lovely interplay with Giuseppe Vasapolli’s piano part. Jazz for a summer’s day.
'Falcon Flight,' featuring Ricardo Oliva & Gianluca Pellerito, is a different proposition altogether with an insistent, complex drum-part and a lightning fast guitar lead melody, with some chordal work behind it that betrays a Gambale/ Holdsworth influence (no bad thing).
The guitar solo on this number is truly astonishing, with Mancuso showing the full breadth of his abilities. Oliva & Pellerito (who also feature on 'Samba Party') are also given the opportunity to shine.
'Open Fields,' another optimistic and summer-listening number, illustrates that Matteo Mancuso can demonstrate a lightness of touch and deliver a killer chord sequence that you won’t hear any better this side of Pat Metheny.
Toward the end of the number Mancuso ups the ante with another riff driven section and a seemingly impossible (although clearly not for him) solo.
'Drop D' is a guitar instrumental tour de force, making it the perfect choice as lead-off single.
Opening with a repeating figure, over which the main melody part is played, the piece builds toward a heavier riff before returning to the melody.
A delicate acoustic chord sequence then introduces a short bass solo before a tasty guitar solo kicks in, followed by the return of the drum part. As the song progresses to the outro there’s a return to the heavy riff before a sudden stop – followed by an even heavier version of the riff with a stunning solo over the top.
In short, superior jazz-prog rock.
Indeed, unless you have no interest in guitar-led music, you cannot fail to have heard of the Sicilian born, 26 year old whizz-kid with the unusual and highly distinctive playing style (almost like a hybrid of flamenco/ classical/ chicken-picking).
Matteo Mancuso can cover numbers by Alan Holdsworth, cut loose with a flurry of flawless arpeggios and deliver a solo at breakneck speed whilst still exuding musicality; he’s also had various luminaries of the guitar world extolling his virtues, including Al Di Meola, Steve Vai, Tosin Abasi and Joe Bonamassa.
Yeah… he’s pretty good.
Matteo Mancuso is also raising the bar for the next generation of guitar players, word of which has been on the interweb since 2017 when, as part of a trio called Snips, Mancuso and his bandmates took on jazz-rock and fusion elements (their version of 'The Chicken' has now 2.4M views on YouTube).
Covers of Holdworth/ Weather Report/ Metheny numbers, acoustic performances with Al Di Meola and Tommy Emmanuel, plus sets that include homage to the late Jeff Beck, have also enhanced his reputation.
In fact, the only question remaining about his prestigious musical talent is can he write decent songs?
The answer to that is a resounding yes, as heard on debut album The Journey, one of many albums delayed by the Covid-19 pandemic and lockdowns (writing sessions for the album, recorded at fico d’india studios, Casteldaccia, Sicily, started in 2020).
The album was recorded by Matteo’s father & musician Vincenzo Mancuso (who also plays acoustic guitar on the title track and co-wrote two of the songs), with an excellent mix from Andrea Secchi.
The Journey also features the talents of bassist Stefano India and drummer Guiseppe Bruno, with additional musicians Riccardo Oliva (bass), Gianluca Pellerito (drums) and Guiseppe Vasapolli (piano, organ) featuring on two songs apiece.
As regards the songs and their styles the album is well named, encompassing as it does Matteo Mancuso’s musical travels these last six years from rock, prog and fusion to bebop and modern jazz.
'Silkroad' kicks off the album in muscular fashion with a big riff and a prog-rock vibe; the use of the whammy bar to dive up and down to notes has echoes of Scott Henderson’s work.
A few lightning fast runs preface the middle eight which sets up the change of pace to a classical guitar figure, which is then overlaid with another meaty riff and the main melody line in the outro.
Chick Corea would have approved.
'Polifemo,' which follows, is a jazz-inflected number with clean guitar tones and some lovely interplay with Giuseppe Vasapolli’s piano part. Jazz for a summer’s day.
'Falcon Flight,' featuring Ricardo Oliva & Gianluca Pellerito, is a different proposition altogether with an insistent, complex drum-part and a lightning fast guitar lead melody, with some chordal work behind it that betrays a Gambale/ Holdsworth influence (no bad thing).
The guitar solo on this number is truly astonishing, with Mancuso showing the full breadth of his abilities. Oliva & Pellerito (who also feature on 'Samba Party') are also given the opportunity to shine.
'Open Fields,' another optimistic and summer-listening number, illustrates that Matteo Mancuso can demonstrate a lightness of touch and deliver a killer chord sequence that you won’t hear any better this side of Pat Metheny.
Toward the end of the number Mancuso ups the ante with another riff driven section and a seemingly impossible (although clearly not for him) solo.
'Drop D' is a guitar instrumental tour de force, making it the perfect choice as lead-off single.
Opening with a repeating figure, over which the main melody part is played, the piece builds toward a heavier riff before returning to the melody.
A delicate acoustic chord sequence then introduces a short bass solo before a tasty guitar solo kicks in, followed by the return of the drum part. As the song progresses to the outro there’s a return to the heavy riff before a sudden stop – followed by an even heavier version of the riff with a stunning solo over the top.
In short, superior jazz-prog rock.
By complete 'Drop D' contrast, 'Blues for John,' with Giuseppe Vasapolli on organ, is an impeccably played bebop jazz number that wouldn’t be out of place on a John Scofield album (it’s delivered with speed, but with underlying musical taste and appreciation).
The acoustic and rhythmic 'Time to Leave' then adds yet another texture by way of its understated nature, flamenco meets Mediterranean stylings and subtle echoes of John McLaughlin.
'Samba Party' is strangely named given it has little in common with the samba style, but, as Matteo Mancuso himself explains "I wanted to write a happy ‘major chord’ song and the thing I usually connect with giant, happy parties is the carnival in Rio de Janeiro, so that's why Samba Party!"
It’s most certainly happy as well as upbeat and, again, features Mancuso’s skill with chord structure and melody, along with lightning fast solos. Another album highlight.
The Journey closes with, fittingly, the title track, which provides further contrast (and yet another album highlight) through its delicate, melancholic theme on acoustic guitars.
A lovely piece of music with which many will identify, and return to for repeated listening.
There are not many albums where every single track has something to offer backed by outstanding musicianship, but this is one of them – to the degree that The Journey is a legitimate contender for not just debut album of the year, but album of the year, period.
Prestazioni eccezionali, Signore Mancuso.
Nelson McFarlane & Ross Muir
FabricationsHQ
The Journey will be released via the Mascot Label Group on 21st July
Pre-order: https://lnk.to/matteomancuso
Mascot Label Group merch page for The Journey (CD & Vinyl): https://www.mascotlabelgroup.com/collections/matteo-mancuso
The acoustic and rhythmic 'Time to Leave' then adds yet another texture by way of its understated nature, flamenco meets Mediterranean stylings and subtle echoes of John McLaughlin.
'Samba Party' is strangely named given it has little in common with the samba style, but, as Matteo Mancuso himself explains "I wanted to write a happy ‘major chord’ song and the thing I usually connect with giant, happy parties is the carnival in Rio de Janeiro, so that's why Samba Party!"
It’s most certainly happy as well as upbeat and, again, features Mancuso’s skill with chord structure and melody, along with lightning fast solos. Another album highlight.
The Journey closes with, fittingly, the title track, which provides further contrast (and yet another album highlight) through its delicate, melancholic theme on acoustic guitars.
A lovely piece of music with which many will identify, and return to for repeated listening.
There are not many albums where every single track has something to offer backed by outstanding musicianship, but this is one of them – to the degree that The Journey is a legitimate contender for not just debut album of the year, but album of the year, period.
Prestazioni eccezionali, Signore Mancuso.
Nelson McFarlane & Ross Muir
FabricationsHQ
The Journey will be released via the Mascot Label Group on 21st July
Pre-order: https://lnk.to/matteomancuso
Mascot Label Group merch page for The Journey (CD & Vinyl): https://www.mascotlabelgroup.com/collections/matteo-mancuso