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Giacinto Piracci

Giacinto Piracci, born in Naples, in 1974. At the age of 14 starts studying the guitar, with a teacher for a short period, and continuing self-taught. His musical interests focus mainly on Rock, playing with small local bands, then moving to Jazz, practicing for a few months before starting classical studies, new passion. He achieves in year 2000 the Degree in Classical Guitar and in 2005 the Degree in Jazz Music at the Conservatory of Naples, with top marks and praise.

In 2004 takes part at the Jazz clinics in Siena (Siena Jazz) where he studies with Enrico Rava, Pietro Tonolo, Massimo Manzi, Tomaso Lama and other teachers, winning a scholarship to rapresent Italy, with another student, at the I.A.S.J (International Association Schools of Jazz) meeting in Krakow in 2005, under the direction of Dave Liebman.

He takes part in many workshop where he can meet and study with many great musicians, like Jim Hall, John Abercrombie, Joe Diorio, Frank Gambale, Kurt Rosenwinkel, Peter Bernstein, Dave Liebman, Rick Margitza, Francisco Mela, Dick Oatts, Enrico Pieranunzi, Tomaso Lama, R.Taufik, Jarek Smetiana and others.

In 2001 takes part with a project of original compositions at the first edition of the ”Napoli Jazz” Festival, on the bill with Bill Frisell, Steve Lukather,Larry Carlton e John Scofield, and other festivals later, like “Rumori nell'Isola” in Ventotene, Maratea Jazz etc.

With the Jazz Big Band of San Pietro a Maiella, takes part, with original arrangements e various guests (Sandro Deidda, Robert Bonisolo) at seasons (Teatro S.Carlo di Napoli) and Festivals (Internazionale di Ravello, Nick LaRocca Jazz Festival, Leuciana Jazz).

With different groups he has the honour to play with many wonderful musicians like: Chuck Findley, Don Moye, Andy Gravish, Emanuele Cisi, Roberto Ottaviano, Flavio Boltro, Aldo Bassi, Fabrizio Bosso, Luca Aquino, Pietro Condorelli, Dario Deidda, Alfonso Deidda, Fabio Morgera, Peter Lehel, Gerry Popolo, Daniele Scannapieco, Aldo Vigorito, Elio Tatti, Salvatore Tranchini, Francesco Nastro, Marco Sannini, Giulio Martino, Maurizio Quintavalle, Cettina Donato, Leonardo De Lorenzo, Marco De Tilla, Sergio Di Natale, Marco Zurzolo, Antonio Onorato, Elio Coppola, Daniele Sorrentino, Andrea Rea, Giovanna Montecalvo, Francesco D’Errico, Ivano Leva, Alberto Giraldi, Fausto Ferraiuolo, Carlo Lomanto, Emiliano De Luca, Ermanno Baron, Marcello Giannini and others.

He played in various Jazz Festivals in Italy and around the world, such as: Umbria Jazz in Melbourne, Italian Jazz Festival of London, Umbria Jazz, Festival 2 Mondi di Spoleto, Napoli Jazz Festival, Ravello International, Marigliano Jazz, Sile Jazz Festival, Nick La Rocca Jazz Festival, Jazz Festival Amantea, Rumori sull'Isola Festival in Ventotene, Jazz Fest Napoli, Leuciana Festival among others.

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«Seven Tales Of Guilt» by Giacinto Piracci Septet is an album of notable compositional and instrumental volume that cuts across the jazz idiom, piercing it from one side to the other with a sharp creative blade, a conceptual work driven by earthly precariousness and anxieties contemporary music that dramatically broadens the user's perceptive framework, strengthening the bond with the music."

(Francesco Cataldo Verrina, Doppio Jazz)

"The feeling, listening to Giacinto Piracci, is that of finding yourself in front of a guitarist with a strong narrative aptitude, bearer of a phrasing that never loses its melodic appeal even when the harmonic texture does thickens

«Seven Tales Of Guilt» by Giacinto Piracci Septet is an album of notable compositional and instrumental volume that cuts across the jazz idiom, piercing it from one side to the other with a sharp creative blade, a conceptual work driven by earthly precariousness and anxieties contemporary music that dramatically broadens the user's perceptive framework, strengthening the bond with the music."

(Francesco Cataldo Verrina, Doppio Jazz)

"The feeling, listening to Giacinto Piracci, is that of finding yourself in front of a guitarist with a strong narrative aptitude, bearer of a phrasing that never loses its melodic appeal even when the harmonic texture does
thickens. There is no doubt that what the artist exhibits is a modern language, which however embodies a profound awareness of the entire evolutionary process of Jazz."
(Jazzit Magazine)

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