- Roelens recorded some albums on his own with his compositions and instrumental versions of international hits; he also worked for RAI, making television themes (the best known is the one for Piccolo slam, Toccami, sung by Stefania Rotolo).
- He had a musical career almost entirely devoted to jazz; he was one of the first in Italy to play jazz music with his orchestra at the end of World War II, a genre that at the time was regarded as a vulgar import from the states.
- With Baldo Rossi and OtelloCanapino he also formed a trio, specializing in instrumental covers of songs by Nat King Cole.
- "Musica per commenti sonori", also known as "Lipstick" and released by Costanza, came in 1979 after a couple of memorable LPs, "Research Of Sound" and "Rock Satellite", and is one of Roelens' latest examples of library music before his death, which occurred in 1985.
- The fortunate encounter with the composer Armando Sciascia led him to write arrangements for many albums released by Vedette Records (Sciascia's own label) and, in the mid-seventies, to compose some of the rarest and most revered library music ever released.
- His discography includes the cult LP "Feelings", a release signed as Jay Richford and Gary Stevan, these names concealing the collaboration between Stefano Torossi, Sandro Brugnolini and Giancarlo Gazzani.
- He was an Italian pianist, arranger, conductor, composer and record producer.
- The main soundtrack created by Puccio Roelens was in 1966 for the movie Yankee, directed by Tinto Brass.
- In 1977 he made the Rock Satellite LP, published by RCA-Original Cast in the "SP" series ( these were LPs usually intended for soundtracks for RAI and not officially sold to the public). It was a fine example of jazz / funk which was created by Enzo Restuccia, Al Korvin, Enrico Pieranunzi, Renato Serio, Antonello Vannucchi, Dino Piana, Oscar Valdambrini and Silvano Chimenti, among others.
- In the fifties he composed some soundtracks for films.
- In the eighties the activity thinned out, until he died.
- In 1944, he joined the Eiar orchestra of Florence; after the war he began playing as a pianist in some jazz orchestras, participating in some recordings by guitarists Franco Cerri and Cosimo Di Ceglie, trumpeter Nino Impallomeni and conductors Gorni Kramer and Enzo Ceragioli.
- His meeting with Armando Sciascia dates from the years when Sciascia founded the record company Vedette. He called Roelens (who in the meantime created his own orchestra using the stage name Puccio Roelens) as a collaborator to follow some arrangements and productions of the label, working often with Francesco Anselmo, Al Korvin, Pino Presti, Gil Cuppini and Tullio De Piscopo.
- In 1948 he formed his own orchestra, with Pino Moschini on trumpet, Marcello Boschi on clarinet, Tullio Tilli on keyboards, Otello "Canapino" Canapa on guitar, Baldo Rossi on double bass and Mario Vinciguerra (musician) on drums, with whom he made some 78s for the Odeon (some of these recordings have recently been released on CD).
- In 1953 he created the Saxophones and old trumpets program together with the Quartetto Cetra, Riz Ortolani and maestro Francesco Ferrari. The impossible history of jazz.
- The tracks on the records he made in tesveies are often characterized by a typical late-seventies funky mood, but they also feature some laidback moments that would fit perfectly an erotic movie soundtrack.
- He continued his activity as a pianist (accompanying Nicola Arigliano among others) and also realized in collaboration with the maestro Luigi Zito some sonorizations for the Italian RCA.
- After graduating from the Conservatory, he was noticed by Francesco Ferrari, at the time arranger of Pippo Barzizza's Cetra orchestra, and he moved to Turin to join this orchestra as an accordionist.
- He also collaborated with RAI ( Radiotelevisione italiana = Italian Television).
- Critics said about his record: " Research of Sound": Originally released in 1976 on the Edipan imprint, this album potentially features the most compelling jazz-funk tunes ever released on a Italian library.
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