That’s All Folks is a clever yet ambivalent title that seems to want to imply something final, even if the term wouldn’t easily gel with the elusive nature of jazz, the language that, better than any other, has been able to represent the continuous evolution of life. However, it’s a deeply-rooted belief in the improviser’s mind that every movement has to start from some kind of stillness, from a root, from a house.
For Simone Guiducci this house seems to be able to lean itself on an archetypal sound (one that only folk cultures, as old as the the very idea of song, can lay claim to) rather than on the literature that we are used to perceiving as strictly jazz.
In the age of information congestion and of the idea that “everything has already been said”, Guiducci brings us the new incarnation of his Gramelot ensemble, embellished by the return of a truly inspired Ralph Alessi, in a cosmogonic age in which melodies and rhythms seem to be able to regenerate forever. In this rediscovered paradise,7 /4 or 5/4 time don’t seem like complex (composite) rhythms but more like the natural breath of the melody, an explicit invitation to leave behind mouldy cliches and predictable actions.Likewise,a 12 string guitar,that reminds us of the Mediterranean oud and saz, lays down urgent improvisations that can’t easily be categorised or defined. It’s probably this state of grace that is the defining reason why Guiducci chose this title, that, if flipped around, could be telling us that all that matters are our most authentic roots: jazz was the first to show us this, born from the blues and dance forms.
Guiducci and his splendid Gramelot do nothing other than to search for our blues and our dances.