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GIANFRANCO CONTINENZA

Jazz Rock/Fusion • Italy


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Gianfranco Continenza biography

Gianfranco Continenza appeared in Turin in Italy on February 1, 1968. He has relations for playing the guitar at the age of eight because his father was Jazzguitarist.

He has been spending the period of about five years on the research of the music for classics for the history of the activity of music. Moreover, the activity is given with absorption and the pursuit of various genres similarly for the performance and the method of the guitar.

Moreover, the research and graduation in the guitar Institute of Technology have expanded the width of the activity further partially of the history in the exchange and competing with various musicians.

The laboratory for the professional musician is established in 1994. And, production and the announcement of first Solo Album are done in 2008.


Bio prepared by Kazuhiro

Gianfranco Continenza official website

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GIANFRANCO CONTINENZA discography


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GIANFRANCO CONTINENZA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 3 ratings
The Past Inside the Present
2008
2.82 | 2 ratings
Face The Truth
2011

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GIANFRANCO CONTINENZA Reviews


Showing last 10 reviews only
 Face The Truth by CONTINENZA,GIANFRANCO album cover Studio Album, 2011
2.82 | 2 ratings

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Face The Truth
Gianfranco Continenza Jazz Rock/Fusion

Review by BORA

3 stars What an appropriate title!

I can't say if I am dealing with a bruised ego, or a misunderstood artist, but my write-up on Gianfranco's previous release "The Past Inside The Present" must have touched a raw nerve somewhere. Suffice to say, I received a PM from the man himself offering a link to his streamed works - some of which are part of this album - inviting me to comment. Since he only visited PA for a single day (long enough to rate his own work with 5 stars), my reply to him remains unread.

So, lets "Face The Truth". There is no doubt that Gianfranco can "shred" as if there was no tomorrow. His ability is not disputed. It's the vehicle he chooses, that bittersweet New York- style Fusion is what fails to excite. I accept that some people may enjoy it, but I am not a great fan of melancholic, sweet depression laced with the odd shredding.

I was still a teenager when the first Mahavishnu albums came out, My preference generally remains for McLaughlin's works of that era, alas he still releases the odd masterpiece every now and then. Shredding aside, Gianfranco's fascination seem to center on McLaughlin's less cherished approaches.

A notable exception is (provided on the website) "One Word" from "Birds Of Fire". Not one, but two different versions, both of which make an absolute mess of and completely missing the essence of that legendary tune. Why, oh why?

To name a track "Mahavishnology" is not only overly ambitious, but as a term is outright horrible. For the record, "Maha Vishnu" (Great Vishnu) is the name of the Indian deity and would deserve a bit more sensitivity? What's next? Mahavishnomobil? Mahavishnotron? (The only person who made an apt and appropriate variation to the name was former drummer Billy Cobham. After those two notable disasters (featuring Bill Evans) he referred to the band as "Hahavishnu". Touche!)

By rating the previous work as 3 (good, but non-essential) I thought I was more than fair to Gianfranco. This album wouldn't fare much better with me, but thanx for the link and don't forget to rate this, too!

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 The Past Inside the Present by CONTINENZA,GIANFRANCO album cover Studio Album, 2008
3.00 | 3 ratings

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The Past Inside the Present
Gianfranco Continenza Jazz Rock/Fusion

Review by BORA

3 stars Pleasant, 12 of a dozen effort.

No, I don't mean to knock the musicianship, it's just hardly anything that stands out of this otherwise credible delivery. Nothing really memorable that I'd want to listen to again.

Whilst the musicians do play well, the compositions are quite average and lets face it - boring. Rather unusual for an Italian artist to embrace the US approach to Fusion of contorted rhythms and melodies speckled with good runs on the individual instruments. Very different to the British Jazz-Rock of largely riff based blistering improvisations - which is generally my preference.

A Holdsworth influence is obvious here, but really, these days every other man and his dog are doing that - ad nauseum. The inclusion of Bill Evans (saxes) may be a good PR move (he played with Miles Davis at some stage) alas, I am still having nightmares after Evans' collaboration with John McLaughlin some decades ago. The one that turned two "Mahavishnu" albums into pitiful clones of the weakest excesses in skillful mediocricity that Weather Report ever produced. In all fairness, Evans plays quite well on the tenor here, but I just can't shake those memories that still haunt my senses.

My conclusion is that the skills on display are pretty good. The album itself - as long as I have choices - remains rather forgettable and average.

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