Il Manifesto Feb 23, 2007
"Senza un secondo di pausa parte Scelsi Morning, should be the main dish given the title. A low flute, an electronic keyboard (that of the masterly Francesco D'Errico), one sax, one piano, two guitars chitarre, and discreet drums.(...)"
(Mario Gamba)
Il Mattino Jul 11, 2006
”D’Errico speaks about jazz-jazz and not as a sterile rivendication of afroamerican sound's purists, but rather for the adhesion to the only possible canon, that of improvisation, of sound reasearch…”
(Federico Vacalebre)
Il Mattino May 10, 2005
“…Francesco D’Errico's piano is a strong and elegant reference.”
(Stefano Valanzuolo)
Jazz Journal International volume 54 nr 2 february 2001
“..Francesco D’Errico delivers a moody but interesting set of very contemporary jazz”.
(David Lands)
Musica jazz November 2000
“'s a kind of jazz full of certainly uncommon values and qualities”
(Bruno Schiozzi)
Alias weekly supplement of Il Manifesto September 30, 2000
“ The pianist's “solos” sound resounding, and address us with the hope of a following album”.
(Girolamo De Simone)
Musica Jazz August/September 2000
“....the success of the album was far from an product in vitro...a shining and clear interplay, constantly on the edge of poetry”.
(Pietro Mazzone)
Il Mattino April 29, 2000
“D’Errico is a Neapolitan jazzist who doesn't live in closed in self-fulfilment, who pursues sounds that are able to speak both to the heart and the brain”.
(Federico Vacalebre)
Cronache di Napoli March 15, 2000
“Regardless of the unquestioned skills of D'Errico and of the beauty of his melodies, the understanding between members of the trio shall be underlined”.
(Laura Cassese)
America Oggi National edition Mar 7, ‘99.
“A lucky meeting happened a few years ago in Naples, Francesco d’Errico and David Alan Gross, a Neapolitan composer and a US jazzist. Then the discovery of artistic affinities, an idea, the beginning of a project and the start of an American adventure.(...) Ave of the Americas , out soon(...) music composed and executed on piano by Francesco D’Errico, and enriched by the New York jazz firms of our days, Eddie Gomez on contrabbass, Bob Moses drums and David Alan Gross on sax”
(Romana Fabrizi)
24 heures Grand Quotidien Suisse. Oct 25, ‘97.
“Sur le mode - mais pas à la maniere - des jazzmen (...) Napoletana reprend à son compte la chanson napolitaine (...) . Un groupe dont le travail tout en finesse et en demi-teintes donne une interprétation trés intéressante du folklore napolitain”.
(Cristian Steulet)
Il Manifesto Aug 13, ‘97.
“Jazz from South in which European artists relate not only to afroamerican music but also to their own culture”.
(Luigi Onori)
Corriere del Mezzogiorno Jul 10, ’ 97.
“..the flow of track is rapid and engaging, crossing the mythical places of Neapolitan song”.
(Stefano de Stefano)
Il Manifesto May 31, ‘97.
“Intimate, intense style... The outcome returns truth to the songs...”
(Gianpiero Cane)
Il Roma Mar 24, ‘97.
“..the beautiful and "fragrante" music remains inside and refreshes the hearing..”
(Rosaria Desirée Klain)
Il Tempo Mar 2, ‘97.
“An extraordinary expressive sensibility (...) a delicate and evocative raid into Neapolitan song”.
(Angelo D’Amelio)
Musica Rock & Altro feb ‘97 (supp. of Repubblica).
“A composer devoted to melody, who privileges warm sounds, soft atmospheres”.
(Nino Marchesano)
Musica Jazz Feb. ‘97.
“Francesco D’Errico, incarnation of a shady, nocturn, anti-rhetoric Naples of music.”
(Pietro Mazzone)
Musica Jazz Apr. ‘93.
“Elegant instrumentist, with soft touch, D’Errico prefers meditative atmospheres; good arranger..”
Audio review Nov.”92.
“ D'Errico's lyric leaps an echo of Neapolitan folk tradition can be recognized even if it is mixed with debris of other cultures”.
Musica jazz Jun. ‘90.
“Francesco D’Errico, by now a reality to consider seriously because of the extreme expressive clarity“.
(Enzo Gravante)
Musica jazz Mag. ‘90.
“A poetic world as meticulously ordered as free from conditioning, fancy”.
New Age Mar.’90.
“Music that originates from the profound conviction of having something inside that can't stay there to rot”.
(Angelo De Palma)
Rockstar Dec. ‘89.
“D’Errico suonds full of emotion, with warmth and lyricism, so much as to desire for more soon, maybe live, alone or in group”.
(Stefano Bonagura)
Il Mattino Jul 14, ‘89.
"D'Errico's keyboard is liquid, lyric and romantic, sometimes it also draws from from the world of cultured music (...)D’Errico neif composer... indeed, and all of this can be heard."
(Federico Vacalebre)