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Tommaso Starace Tommaso Starace

Tommaso Starace was born in Milan in 1975 from an Italian father and Australian mother. He started playing the alto saxophone at the age of 18.

In 1994 he took part in a weekly jazz seminar organised by Berklee College of Music, taking place in Perugia as part of the ‘Umbria Jazz Festival’ and in that same year he was accepted at the Birmingham Conservatoire where he graduated with a BMus first class honours degree. During those 4 years of college he studied with saxophonists Andrew Tweed, Chris Gumbley and Nigel Wood both classical and jazz repertoire. In the summer of 1996 he took part in the Jamey Aebersold Summer Camp in Kentuky and had the chance of performing and studying with saxophonist Don Braden and Jazz Educators David Baker.

Between the years 1999/2000 he completed the Postgraduate Jazz course at the Guildhall School of Music and Drama, London. While attending the course he studied with ex-Jazz Messengers saxophonist Jean Toussaint, and saxophonists Stan Sulzman and Martin Hathaway; he performed in small combos and big bands with Billy Cobham, David Liebman, Kenny Wheeler and Norma Winstone. He also took part in several master classes some of which with renown jazz musicians such as saxophonist Tim Garland and bass virtuoso John Patitucci.

Across the years, since successfully completing his Postgraduate course, Tommaso has gained a considerable reputation in the Uk jazz scene appearing at many jazz clubs and Festivals with his Quintet. Some of the venues include :

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'Anyone who has experienced a glissando of language on the streets of Italy will understand the utter exuberance with which Italian-born Starace attacks and runs with the language of music'. (by Paul Medley 14/10/2009 The Oxford Times)

‘Starace's melodious originals offer good blowing potencial for alto and soprano solos delivered in a cleanly articulate post-bop style reminiscent of ,   Phil Woods'. ( Jack Massarik, Jazzwise, April 2006)

  ‘The promising Starace seems to be revealing his most personal voice in the full-on music’. John Fordham, The Guardian, August, 2006

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