Vincenzo Martorella, jazz historian by training, music scholar of the 20th (and 21st century), is one of the most authoritative Italian musical critics.

He has taught, and still teaches, History of Jazz and Analysis of Composing and Improvising Jazz Processes at the Conservatori di Venezia, Sassari, Latina, Cosenza, La Spezia and Ferrara.

He has taught: History of Alternative Music, at SSIS, University of Bari; Twentieth-Century Music History, at New York University; History of Popular Music at the Master’s Degree in Radio and Digital Media Conductor, organized by the Department of Language Sciences, University for Foreigners of Perugia. At the Conservatory of Terni he held a series of lectures on the history of jazz, which he taught for fifteen years.

For twenty years he has held lectures, listening guides and courses on jazz history throughout Italy.

He published the books: History of the Fusion. An Annotated Guide to Unspeakable Music (Castelvecchi, 1998); MC Solaar (Gremese, 1999, French market only); Art Blakey. The Drum and the Ecstasy (Stampa Alternativa, 2003); The Bollani Syndrome (Vanni Editore, 2009); The Blues (Einaudi, 2009); Time After Time. The Twenty Years of the Jazz Orchestra of Sardinia (Edes, 2011); Listening/Writing. Handbook (improper and anthological) of music criticism (Eighttypes, 2018).

He edited and translated, for Einaudi, New History of Jazz, by Alyn Shipton, for which he compiled a full-bodied Glossary and wrote the lengthy essay “The Cannibal’s saltarello. Backward History of a Century of Italian Jazz.” He also translated Funny Valentine. The Life of Chet Baker, by Matthew Ruddick, for Arcana, and For the End of Time. The Story of the Messiaen Quartet, by Rebecca Rischin (Eighttypes) .

For the publisher Stampa Alternativa, he co-directed the Jazz People series, promoting and editing volumes on John Scofield and Ornette Coleman. For Arcana, for which he was editorial director, he founded the ArcanaJazz series.

Author of hundreds of articles and essays, liner notes and hall notes, he has written for all the most important magazines in the field and beyond: daily newspapers (Manifesto, Liberazione), weekly (L’Espresso), monthly (L’Uomo Vogue, Musica Jazz, Percussioni, Audio Review, Chitarre, I Fiati, Jazz Hot, and many others). For six years he edited Jazzit magazine, and, from inception to the end, the rock magazine MUZ.

Vincenzo Martorella

Vincenzo Martorella