Bassolino

There’s a retro groove running through "Città futura", the solo debut from Bassolino, who gives 70s and 80s Neapolitan jazz-funk a fresh spin with meticulous attention to detail. Key players from Naples’ vibrant scene, like drummer Andrea De Fazio and bassist Paolo Petrella, add depth to a project that feels equally rooted in nostalgia and alive in the present.

The album kicks off with "Napoli visionaria", an energetic opener that channels the spirit of legends like Tullio De Piscopo, Toni Esposito, and Napoli Centrale. Luigi Scialdone’s mandolin (Fitness Forever) adds a folkish flair, a nod to tradition that comes back in "'E parole", where LNDFK’s warm, expressive vocals evoke the charm of Teresa De Sio. With its smooth flute lines and perfectly placed harmonic twists, the track is both refined and light on its feet.

But "Città futura" isn’t just about local vibes. It ventures further, picking up smooth jazz flavors ("Oro di miele") and cosmopolitan touches — think Casiopea’s polished city pop or even moments reminiscent of Eumir Deodato’s laid-back fusion. "Malavita" goes full-on disco, though its momentum dips slightly due to a flat vocal delivery, only to recover with the swirling synth rush of the title-track. The album wraps up with "Fuga finale", a stylish nod to vintage Italian crime soundtracks, full of references to Micalizzi and Morricone — think something in the ballpark of Calibro 35’s cinematic funk.

Unlike Nu Genea, who lead the current jazz-funk revival with a sleek, crowd-pleasing sound, Bassolino takes a more understated route. No quick wins here: "Città futura"builds a rich, immersive world where past and present intertwine, painting a portrait of a city that never stops moving. The album’s real power lies in how it reworks familiar sounds into something that pulses with the energy of today’s Naples — a city that, while deeply tied to its roots, is always looking forward.

05/01/2025