Born: May 8, 1961 Primary Instrument: Piano
Self taught from the age of eight, in 1991 Davide received his degree in the Discipline of Art, Music and Shows-Performance at the University of Bologna, Italy. In 1996 he won the “First Prize Jazz Section G. Gershwin Award” at the International Piano Competition Ibla-New York Grand Prize. Beginning in the mid 1970’s he carried out intensive concert activity and participated in several competitions, as well as numerous international jazz festivals doing tours outside of Europe and also in the U.S.A. and in Japan. Davide has collaborated with various musicians, among which are Phil Woods, Lee Konitz, Urbie Green, Benny Golson, Dave Liebman. Bobby Watson, Kiyoto Fujiwara, String Orchesra Società dei Concerti di Bari. To date, he has recorded sixteen albums, eight of which Davide is leader and composer. Quiet (1989, BMG-Mac); Broceliande Fairy Tales (1991, Ricordi-Les Folies Art); Tambor Sagrado (1994, Le Parc-High Tide); Be Tune (1996, Philology); To Bill Evans (1998, Philology); Rhythm And Changes (2004, Just Jazz-Sony Germany-PJL Japan); Sonority (2005, King Japan); Stainless (2009, Stainless). He has also dedicated himself to teaching and writing instructional books for BMG-Ricordi, methods, Jazz �� L’arte dell’ Armonizzazione (2000), J.A.D.A. �� Appendice Con Armonizzazioni Ragionate (2001) and Jazz �� L’arte dell’ Armonizzazione Complete Edition (2004) and translating into Italian methods published by Hal Leonard Keyboard Style Series (2004/2005). Davide currently resides in Trani, Italy. He is the instructor of Jazz at the “S. Giacomantonio” Music Conservatory of Cosenza, Italy.
In 1996 Davide won the “First Prize Jazz Section G. Gershwin Award” at the International Piano Competition Ibla Grand Prize.
«Totally individual, great improvisation. His way of playing is different than that of anyone else...» Ruth Ellington
«Excellent pianist and improvisator» Alan Gershwin
«…You get the sense of Santorsola’s extraordinary intent on creating a new form of jazz piano expression.
…I ended up listening to this CD almost 20 times. For people such as myself, the incomprehensible mystery of the sound lay hidden. In recent years, there has been a boom in “Euro jazz,” and while it’s true that this is has been a boon for the jazz world, Santorsola stands somewhat apart from this trend, or should I say, he’s a pianist that should stand apart. To say more, I think that there is a part of him that falls outside the category of “jazz” » Fumiaki Fujimoto
«…You can enjoy Italian new piano star… On this solo performance you can enjoy his sense of harmony.. You can find why this album is titles “Sonority” from just a first few notes on top...» Koji Kubota , Swing Journal july 2005 issue, Review on “Sonority Davide Santorsola” (4 stars)
«A mature jazz expession, perfectly balanced between the language of tradition and the need for modern expression which does not mean necessarily running after fashion frenetically or desecrating at all costs. Rhythm and changes, the new CD of the pianist Davide Santorsola... is elegant and courageous as well...» Ugo Sbisà, La Gazzetta del Mezzogiorno
«Here is another demonstration of Italian talent creating music. A work of surprising quality… completely created and carried out in our own country» Marco Crisostomi, Audio Review
«The music of Davide Santorsola is recommended for all enthusiasts of this type of music» Gianfranco Machelli, Stereo
«Santorsola enriches a pianistic style in which the influence of the late Bill Evans or, in certain moments, Keith Jarrett, is not difficult to recognize…from the precious timbre…to the reminiscent classicality…of an intangible atmosphere» Ugo Sbisà, La Gazzetta del Mezzogiorno
«An extremely gifted Italian pianist, Davide Santorsola plays straight jazz and performs with the greatest of ease» Patrick Gentet, Improjazz
«The pianist Davide Santorsola has basically chosen the difficult path of a solo performance,the major nucleus of this remarkable, enjoyable and commendable CD [Tambor Sagrado]… An undoubtedly refined approach…the general impression is that of classical austerity…the music is continually delicate, almost dreamlike, and the dominating atmosphere is romantic and dramatic» Gianmario Maletto, Musica Jazz
«A mature pianist…His music is recommended to whoever likes real jazz…scintillating phraseology, exquisitely boppistic and elegant…a pianist who from the Evansistic rhetoric has succeeded in extracting an essence of suggestive poetry» Gino Fortunato, Jazz
«Santorsola performs with perfect jazz phraseology…his piano style emerges in all its aspects… with exceptional jazz rationality, he evidences his taste and attraction for the bop style…perfect execution, with extremely high marks» Zino Cadini, Ritmo
Davide Santorsola with strings Stainless CD S001 2009
Davide Santorsola Solo piano Sonority King Records - Paddle Wheel, Tokyo, KICJ 487 Cd 2005
Davide Santorsola Trio Rhythm And Changes Justjazz - Ird - Sony Music Entertainment -
NIC 90026 Cd 2004
Davide Santorsola Trio & Lee Konitz To Bill Evans Philology - Ird w 131.2 Cd 1998
Davide Santorsola Trio & Phil Woods Be Tune Philology - Ird w 93.2 Cd 1996
Davide Santorsola Tambor Sagrado Le Parc Music - High Tide 511–2 Cd 1994
Davide Santorsola Broceliande, Fairy Tales Les Folies Art - Ricordi lfad 1227 Cd 1991
Davide Santorsola Quiet Mac - Cgd 64801 Lp 1989
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Willing to teach:
Advanced students only.
Davide Santorsola has also dedicated himself to teaching and writing instructional books for Universal-Ricordi, methods, Jazz – L’arte dell’ Armonizzazione (2000), J.A.D.A. – Appendice Con Armonizzazioni Ragionate (2001) and Jazz – L’arte dell’ Armonizzazione, Complete Edition (2004) and translates into Italian John Valerio’s “Bebop Jazz Piano”, Scott Miller's "Rock Keyboard", Mark Harrison's "Blues Piano" by Hal Leonard Keyboard Style Series (2004/2005). Davide currently resides in Trani, Italy. He is the instructor of Jazz for the JAZZ MUSIC degree program at the “S. Giacomantonio” Music Conservatory of Cosenza, Italy.
On Bill Evans perspective.
An abyssal depth moves the quiet beauty of Evans music. The greatness of his art is immediately reavaled: the understanding of its valuable plot requires time, patience and discipline. Following is the selection of contents, whose discussion I consider essential for a conscious “feeling”.
A scientific approach to jazz music?
Entropy and creative organization of items: the harmony backlighting.
Tactile perception and perception of locomotion.
Entropy and creative organization of items: melodic considerations.
Modal/tonal. Concord and distance. The “vector” sounds.
Upper and Low structures.
Completion, variation. Association, dissociation. Intersection, interpolation. The interior labyrinth.
Check on time.Displacement.
Sorry, no recommendations at this time.