Italian Guitar Master, Giuseppe Continenza

JGT contributor Joe Barth talks to guitarist Giuseppe Continenza.

Giuseppe Continenza is widely regarded as one of the most active and respected guitarists on the Italian and European jazz scene. He began his musical studies with classical training at the Academy in Pescara, Italy, before continuing his jazz education at the renowned Musicians Institute in Hollywood, California. Based in Pescara, he performs regularly alongside Biréli Lagrène and continues to build an international reputation through his concerts, recordings, and teaching activity.

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JB:  I know some of your background has been discussed in JGT, but remind us, as a boy growing up in Italy, in addition to your father, who played jazz guitar, what inspired you to play jazz guitar? 

GC:  Growing up in Italy, my first and deepest inspiration naturally came from my father, who played jazz guitar and created an environment where this music felt alive and meaningful. But very soon, my curiosity expanded beyond the home. What truly captivated me was the sound of jazz itself, the freedom, the sophistication and emotional depth. When I first heard artists like Joe Pass,Jim Hall, Wes Montgomery, and later Pat Martino and George Benson, it felt like discovering a new language, one that was both intellectual and deeply expressive. I was especially drawn to the sense of storytelling in their playing. Jazz wasn’t just about notes or technique; it was about phrasing, time, and the ability to say something personal in the moment. That idea of improvisation as a real-time expression of thought and feeling became a powerful motivation for me.Another key element was the challenge. Jazz guitar requires a deep understanding of harmony, rhythm, and interaction. For me, that complexity was not intimidating, but fascinating. It felt like a lifelong journey, where every step revealed something new. Finally, I would say that listening played a fundamental role. I spent countless hours absorbing records, internalizing the language, and trying to connect with the essence of the music. That process shaped not only my playing, but my identity as a musician. So, beyond my father, it was really a combination of great masters, the emotional power of the music and the endless possibilities for personal expression that inspired me to pursue jazz guitar. 

JB:  When you became old enough, you moved to Hollywood, California, to study at the Musicians Institute. Tell us about a couple of your teachers there and about the musical things you appreciated most about those years of your life. 

GC: Moving to Hollywood to study at the Musicians Institute was a turning point in my life, both musically and personally. It was the first time I was completely immersed in an international environment where music was spoken at a very high level every single day.Two of the most important figures for me were Joe Diorio and Don Mock. Joe Diorio had a profound impact on my musical thinking. He didn’t just teachGuitar, he taught how to think music. His approach was very conceptual and philosophical. He encouraged me to move beyond patterns and to develop a deeper awareness of melody, harmony, and space. One of the most important lessons I took from him was the idea of freedom within structure, how to be expressive while still maintaining a strong connection to the harmony. Don Mock, on the other hand, was incredibly clear, practical, and systematic. He had a unique ability to break down complex ideas into something immediately usable on the instrument. From him, I learned how to organize my knowledge, how to practice efficiently, and how to connect theory directly to the fretboard in a very tangible way. His influence has stayed with me not only as a player but also as a teacher. What I appreciated most about those years was the intensity of the experience.You were surrounded by musicians from all over the world, all driven, all passionate. There was a constant exchange of ideas inside and outside the classroom. You could learn as much from a late-night jam session as from a formal lesson. Another key aspect was exposure. Being in Los Angeles meant hearing incredible musicians live, absorbing different styles, and understanding what it really means to be a professional musician. It opened my ears and expanded my vision. Looking back, those years gave me not only tools and knowledge, but also aMindset, a way of approaching music as a lifelong path of discovery, discipline, and personal expression. I should also mention Scott Henderson, who was a very strong presence at the Institute. What struck me most about Scott was his incredible command of phrasing and his deep blues feeling, even within very complex harmonic contexts. He had this way of making advanced lines sound completely natural dynamics, and the importance of developing a strong personal voice, something that goes beyond technique, and I began to explore the blues in a more complete way, from its traditional roots to its most contemporary and jazz-oriented evolution. He is also a great composer. Of course, I could mention many others too, but the list will be too long. I have so many stories to share but a very good one that Scott talks about is this: when Robben Ford left the band of Miles Davis, he initially offered the guitar position to Don, who respectfully declined. Shortly afterward, the same opportunity was extended to Scott, who also chose not to accept the gig. Although Scott had the memorable chance to speak directly with Miles on the phone an experience he considered deeply meaningful, he ultimately decided that the musical direction of the band was not aligned with his artistic vision at the time. Neither Don nor Scott’s decision reflected any lack of admiration for Miles Davis. On the contrary, both held enormous respect for his legacy and influence. Don, however, had never been particularly drawn to the demands of touring or life on the road, preferring instead the more personal and creative environment of teaching and musical exploration. Scott’s decision was also shaped by having seen the band perform earlier that year. While he greatly admired Miles himself, he felt the repertoire leaned heavily toward contemporary pop material, including arrangements associated with Cyndi Lauper, which did not fully resonate with him artistically. At the same time, he had already committed to performing with Joe Zawinul, one of his greatest musical heroes a collaboration he was unwilling to sacrifice.  

JB:  To you personally, what are three of the most influential jazz guitar albums that shaped your personal development as a guitarist, and why? 

GC:  For me, choosing just three albums of classical jazz guitar is not easy, because my development has been shaped by many great recordings. But if I had to identify three that had a deep and lasting impact on my musical identity, I would mention these: 

1. Smokin’ at the Half Note – Wes Montgomery There is also an incredible balance between sophistication and accessibility. His use of octaves, dynamics, and space taught me that technique should always serve musical expression. This record helped me understand what it really means to tell a story through improvisation. 

2. Virtuoso – Joe Pass This album had a huge impact on my concept of the guitar as a complete instrument. Joe Pass demonstrated that you could imply harmony, bass lines, and melody simultaneously, with incredible clarity and swing. For me, it opened a new dimension of independence on the instrument. It also taught me a lot about voice leading and chord-melody playing. But beyond the technical aspect, what really impressed me was the musicality; everything sounds effortless, spontaneous, and deeply rooted in the tradition.

3. Consciousness – Pat Martino This album had a very deep influence on my approach to bebop improvisation and harmonic thinking. Pat Martino’s playing here is incredibly intense, almost hypnotic. What really struck me was his use of lines that were very fluid, very logical, but at the same time highly sophisticated.There is a strong sense of forward motion in everything he plays, driven by an extraordinary rhythmic precision. His approach to minor tonalities, substitutions, and linear phrasing opened my ears to a more advanced way of navigating harmony.  But beyond the technical brilliance, what I absorbed most was the conceptual depth. Martino’s music has a kind of inner coherence; everything is connected, everything evolves organically. It gave me the feeling that improvisation could be not just expressive, but also deeply structured at a higher level.  

JB:  Talk briefly about meeting Bireli Lagrene in 2000 and what you appreciate about working with him. 

GC:  I first met Bireli Lagrene around 2000 in a jazz festival, and from the very beginning, it was a very natural connection, both musically and personally. What struck me immediately was not only his incredible virtuosity but also the spontaneity and joy he brings to the music. What I appreciate most about working with Bireli is his freedom. He has this rare ability to move effortlessly between styles Gypsy jazz, bebop, and fusion, while always sounding completely authentic. Nothing ever feels constructed; everything flows with a kind of instinctive musical intelligence.  At the same time, he is an extraordinary listener. Playing with him means being constantly engaged in a real dialogue. He reacts instantly, transforms ideas in the moment, and pushes the music forward in a very organic way. Beyond his technical mastery, what I value most is his sense of playfulness and risk. With Bireli, every performance is different; there is always space for surprise, for exploration, for something unexpected to happen. And that, for me, is the essence of jazz. We talked a lot about his experience with Jaco Pastorius, and we have been close friends since then. We did so many concerts together, and every one was special.

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JB: Tell us about one Bireli concert that really stands out.

GC:  One concert that truly stands out in my memory is a performance at the Pescara Jazz Festival, where I had the privilege of sharing the stage with Bireli Lagrene, alongside Gary Willis on bass and Michael Baker on drums.

It was one of those rare evenings where everything aligned the energy, the communication, the sound, the audience. From the very first notes, there was a deep sense of connection on stage. Playing with Bireli is always an extraordinary experience, but that night there was something even more special, a kind of effortless musical dialogue that allowed the music to flow naturally, without any barriers. Gary Willis brought an incredible depth and authority to the harmonic foundation. His time feel and note choice created a very strong, yet flexible platform that gave us complete freedom. Michael Baker, with his sensitivity and precision, constantly shaped the music in an interactive way, never just accompanying but truly conversing.

What impressed me most was the level of listening between all of us. Every phrase was answered, developed, and transformed. There were moments where the music became almost telepathic, where you didn’t have to think anymore, you just reacted.  For me, it was also meaningful on a personal level to play in Italy at such an important festival with musicians of that caliber. It felt like a moment where different parts of my musical journey came together.

That concert remains one of the clearest examples, in my experience, of what jazz can be at its highest level, pure interaction, spontaneity, and deep emotional connection.

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JB:  Tell us about your album “Seven Steps to Heaven” with the late Vic Juris.

GC:  I met Vic Juris thanks to Joe Diorio. Joe told me very clearly, “You absolutely have to record with Vic from New York, you would be a fantastic pair together.”  That suggestion turned out to be incredibly important for me, both musically and personally, and it led to a collaboration that I will always cherish.

My album Seven Steps to Heaven, recorded with the late Vic Juris, is a project that I hold very close to my heart, both musically and personally. Vic was not only a great guitarist but also a deeply sensitive musician with an extraordinary sense of melody, time, and interaction. Playing with him was always about listening at a very high level; there was never anything forced.  Everything came from a place of honesty and musical depth. Seven Steps to Heaven represents, in many ways, the natural evolution of a musical relationship that had already begun years earlier with our first album together, Journey. That first recording was the starting point of a shared language, an exploration of interplay, sound, and mutual respect. With Seven Steps to Heaven, that connection had matured. There was more freedom, more confidence, and a deeper sense of communication.

What made Vic so special was his ability to blend tradition and modernity in a very personal way. He could move from a standard to a more open, contemporary context while always maintaining a strong identity. During the recording, I remember how effortless everything felt there was a kind of calm intensity, where every note had meaning. Beyond the music, there was also a strong human connection. Vic was generous, humble, and incredibly supportive. That made the experience even more meaningful for me.

Looking back, these two albums, Journey and Seven Steps to Heaven, represent an important part of my artistic path. They capture not only a musical collaboration, but also a friendship, and a shared vision of what music can be at its most sincere and expressive.

JB:  What do you appreciate most about your rhythm section on the album, bassist Dominique Di Piazza, and drummer Pietro Iodice?

GC:  What I appreciate most about my rhythm section on the album Dominique Di Piazza on bass and Pietro Iodice on drums, is their extraordinary level of musical awareness and interaction. Dominique brings a very unique voice to the bass. I first heard him on the album “Que Alegria” by John McLaughlin. His sound, his articulation, and especially his harmonic approach add a completely different dimension to the music. He doesn’t just outline the harmony, he expands it. There’s a sense of fluidity and melodic intention in everything he plays, which creates a very rich and inspiring foundation.

Pietro, on the other hand, has an incredible sense of time and dynamics. What I really value is his ability to shape the music in real time. He’s not just keeping time, he’s constantly listening, reacting, and guiding the flow of the performance with great sensitivity and precision. What makes them so special together is the balance. There is a deep groove, but also a lot of space. A strong rhythmic identity, but at the same time a great openness that allows the music to breathe and evolve naturally.

For me, playing with musicians like Dominique and Pietro means being in a true musical conversation, where every detail matters and every moment can lead to something unexpected. That’s exactly the kind of environment where I feel most inspired.

JB:  You are a highly esteemed teacher at an international level, with students from all over the world, can you talk about your work at the European Musicians Institute that you started, as well as teaching jazz guitar at the Conservatory “L. D’Annunzio” in Pescara, Italy.

GC:  My work in education has always been a very important part of my musical life and it developed naturally alongside my performing career. I founded the European Musicians Institute with the idea of creating a space where students could approach jazz and modern music in a practical, contemporary, and highly focused way. My goal was to bridge the gap betweentraditional academic study and the real demands of being a musician. I wanted students not only to understand theory, but to use it to develop phrasing, time feel, interaction, and above all, a personal voice on the instrument. It was withinthis context that I also developed a new method for teaching jazz guitar, anapproach designed to help students play naturally over harmonic structures,with clarity, confidence, and musical awareness. The method focuses on practical application, giving students tools that lead to real, immediate results while still building a deep and solid foundation from phrasing to bebop language to chords and intervals.

Over time, this approach has attracted online students from all over the world, creating an international learning environment and a constant exchange of musical ideas and experiences. At the same time, my role at the Conservatorio “L. D’Annunzio” di Pescara has given me the opportunity to work within an important institutional context, teaching jazz guitar at both undergraduate and advanced levels. There, I try to combine structure and freedom: giving students a solid technical and theoretical foundation, while encouraging creativity, listening, and the development of a strong musical identity. What I bring into both environments is my personal experience, years of study, performance, and collaboration with great musicians. I place a strong emphasis on rhythm, phrasing, and the ability to play naturally over harmonic structures, which are central aspects of my teaching approach.

Ultimately, whether in a private institute or a conservatory setting, my goal is the same: to help students become complete musicians aware, expressive, and capable of communicating something real through their instrument.

JB:  Any new CDs, book or video projects coming out?

GC:  I’m also very excited about an upcoming album, Tribute to Jobim, which will be released soon. This project is particularly meaningful to me because it brings together some extraordinary musicians: the legendary Gene Bertoncini,Dominique Di Piazza on bass and Pietro Iodice on drums. The music is dedicated to the timeless repertoire of Antonio Carlos Jobim, whose compositions have had a profound influence on jazz and on my ownmusical sensibility. His music carries a unique balance of sophistication, lyricism, and rhythmic elegance qualities that we tried to honor while also bringing our own personal voice to the interpretations.

What makes this project even more special for me is that it is co-produced by Gene Bertoncini and I. Working so closely with Gene has been a truly inspiring experience; his depth, taste, and understanding of the music are exceptional. The album reflects a very intimate and refined approach. There is a strong emphasis on interplay, dynamics, and atmosphere, allowing the beauty of Jobim’s compositions to emerge naturally. It’s not just a tribute in the traditional sense, but rather a personal reinterpretation shaped by the interaction between all of us. Gene is a living legend; he played and recorded with many great musicians, and he recorded his guitar in the iconic album of Wayne Shorter “Supernova”.

I am currently writing two methods. One is a comprehensive method for jazzguitar that covers everything from improvisation to the practical and intuitivestudy of chords, intervals, scales, arpeggios and substitutions. The other is The Bebop Method, an innovative, practical and intuitive approach that is easy to apply in real musical situations. I have been teaching both methods for manyyears with great success. It’s definitely a new approach.For me, teaching is a mission just as important as performing it is a way of sharing knowledge, inspiring others, and contributing to the ongoing evolution of the music.

JB:  You often play your Benedetto guitar. Tell us about it.

GC:  I often play my Benedetto Cremona in concerts and recordings, and for me it represents the essence of the jazz guitar tradition. I’ve been honored to endorse Benedetto Guitars since 2003, and I will never forget the day Bob Benedetto personally brought the guitar to me in Milan. It was truly a dream come true to become a Benedetto artist. Bob is a real genius, the Stradivari of guitar making, and he built this instrument especially for me.What I love most about these instruments is the depth and warmth of the tone,the balance across the strings, and the dynamic response. It allows me toexpress subtle nuances in phrasing and articulation qualities that are essential in jazz. There is a kind of natural connection between the instrument and theplayer that makes everything feel more organic and immediate.At the same time, I’m very proud of my endorsement with Yamaha Guitars. Isimply love them. I have a Yamaha SA 2200 semi-hollow and a Revstar Professional, incredibly versatile, you can play from jazz to rock with them, and my sound is also strongly supported by DV Mark amplifiers. What I appreciatemost is their clarity, power, and transparency. They allow the natural characterof the guitar to come through without coloring it too much, which is veryimportant for my approach.

I also use La Bella Strings, which give me the right balance between warmth,definition and playability. Finally, Eventide effects add another dimension to mysound. Their processors are incredibly musical and refined, they allow me to enhance the space, depth, and atmosphere without ever compromising the integrity of the original tone.

JB:  I believe you live near Rome. Talk about the kind of gigs you do there, the tours you do, and how you make a career in music work for you.

GC:  I actually live in Pescara, Italy, a beautiful city by the Adriatic Sea, not far from Rome, and over the years, I’ve had the opportunity to perform in many different contexts, both locally and internationally. In Italy, I play a variety of concerts from jazz festivals and theaters to more intimate club settings. I enjoy both situations; the larger stages offer a broader connection with the audience, while smaller venues allow for a deeper, more interactive musical experience. I often perform in different formats, from duoguitar to trio and quartet settings, depending on the musical project. Touring is also an important part of my activity. I’ve had the privilege of performing in many countries, collaborating with great musicians, and sharing my music with different audiences. Each tour brings a new perspective, it challenges you, keeps you open, and continuously shapes your musical identity.At the same time, teaching plays a central role in my career. My work at the Conservatorio L. D’Annunzio di Pescara, along with my private teaching and international students, creates a balance that is both stable and creatively fulfilling.

For me, making a career in music is about combining different elements:performing, teaching, recording, and constantly evolving. It’s not just aboutplaying concerts, it’s about building a complete artistic life. I’ve always tried to follow a path where passion and discipline go hand in hand, allowing me to grow as a musician while maintaining a strong connection with the music and with the people I share it with.

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