Peter Petrucci has been regarded as a virtuoso, musical poet and one of few guitarists in the world that can play with such legato technique. With a progressive contemporary sound, his refined aural and technical ability produce many colours and melodic textures in his touching renditions of jazz standards and original pieces. Recognised here and abroad by many peers and noted music critics as having attained a high degree of talent and technical ability. Peter has been nominated for several ARIA Awards and Bell Awards including for Best Jazz Album of the Year and Best Jazz Artist of The Year.
Having begun playing guitar at the age of 11, Peter gained an interest in jazz by 16. His attraction was based on the required talent, but more specifically its use of improvisation. “You need quite a big skill base,” Petrucci explains, “The idea of improvisation and spontaneous composition, that’s always a lot of fun. It changes things…[the] music remains fresh.”
After auditioning and being accepted into the VCA, Petrucci mastered his craft. Now a professor at the same institution he recommends a considerable amount of practice for all his students. “If you’re passionate with what you’re doing, you will spend a lot of time doing it,” he says, “Practice is key. I would say if you’re a beginner [you should practice] at least a couple of hours a day.”
The impromptu nature of jazz is an element that has scared many away from playing it, but Petrucci says it keeps the music pure. “That pursuit of composing on the spot is exciting and exhilarating,” he explains. “Jazz is on the spot versus printed repertoire. I realised I liked improvisation the first time I heard certain people play, like Keith Jarrett and Wes Montgomery. Hearing that music had me blown away by it. I had the connection from dot.”
Performed both locally and internationally throughout his career he has done so as an individual artist and supporting many artists of repute. He has performed with artists in Canada, America, the U.K. and Europe including Scott Colley, Zak Danziger, Gene Jackson, Ray Piper, Antonio Ferone, Vasco Tonnello, Simon Spade and Mark Dzuba. “Every country has a special part to it,” he says. “In Europe, people come for anything and they are broad minded. New York is special, because of the improvisation. I also really like Montreal. It has one of the greatest jazz festivals in the world.”
In terms of the Australian jazz scene Peter thinks it is quite strong. “There is a lot going on in Melbourne, but it is a minority art form,” he explains. Especially appreciative of Which Way Music, Peter says, “I have been associated with three or four labels and finally it’s about time a record label came together that understands the music and supports the artists fully…other labels don’t get it. They are fully supportive of the artist and [jazz] music.”
A friendship spanning over twenty-five years, Petrucci met renowned pianist Tony Gould during his time at the VCA. “I was interested in what he was doing as a student at the VCA,” he says, “I was intrigued by his harmonic approach and I was lucky enough to play with him at a young age.” Now the two are great mates with Petrucci saying it’s always a fun journey playing with him. “We always have a good time creating music on the spot,” he explains, “It’s a great thing to perform with people you really admire and get along with.”
The Journey Home is their third collaborative recording. Petrucci says of the album, “It is quite subdue and mellow in sections. It is a melodic recording with three orchestral pieces on the album. There are beautiful compositions and it is a unique journey with little twists and turns.” The album was recorded back in March at Medici Studios in Geelong during the course of one day, but Petrucci doesn’t believe it will be the last time Tony and him collaborate together, with the possibility of another recording brewing at the end of the year.
“Due to the mutual respect and empathy to the process of music making and each other, Tony and I have gone on yet another journey in the pursuit of creating something new and unique for us as performers and for the listener,” Petrucci adds, “Instinct plays a big part in capturing the spirit of spontaneous music making. The end result I feel is less predictable and more personal in that we connect more with the soul of the music itself.”
When asked of the possibility of jazz dying as a genre, Petrucci says, “I would like to believe it will constantly move, like any genre it will evolve. It is the only art form that has spontaneous composition and that’s important and unique….I think it will morph into different things.”
BY TAMARA VOGL
