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gary bartz
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Saxophonist Gary Bartz's official website features reviews, sound bites, cds, photo gallery, itinerary, projects, biography.
Grammy Award winning jazz saxophonist Gary Bartz first came to New York In 1958 to attend the Julliard Conservatory of Music. Just 17 years old, Gary couldn't wait to come to the city to play and learn. "It was a very good time for the music in New York, at the end of what had been the be-bop era," says Bartz. "Charlie Parker had passed away three years previously but Miles' group was in its heyday, Monk was down at the Five Spot, and Ornette Coleman was just coming to town. Things were fresh." Back then, Gary could regularly be found drinking Cokes in the all ages "peanut gallery" of Birdland, enjoying a marathon bill of performers. "If I didn't have money to get in. I'd help somebody carry a drum and sneak in," laughs Bartz. "I learned that early on."
Circa mid-'60s, the alto saxophonist - still in his early 20s - began performing throughout the city with the Max Roach/Abbey Lincoln Group and quickly established himself as the most promising alto voice since Cannonball Adderley. "In those days, we used to go by people's lofts and stay for weeks, just working on music," says Gary. "Polks would all chip in and buy food, and one of us would cook. But there was always music, because people were dropping by at all hours. We didn't even think about it; that's just what we did. We were very unselfish about what we were writing because, after all, music doesn't belong to any one person. It belongs to the people, to everybody" ...
Grammy Award winning jazz saxophonist Gary Bartz first came to New York In 1958 to attend the Julliard Conservatory of Music. Just 17 years old, Gary couldn't wait to come to the city to play and learn. "It was a very good time for the music in New York, at the end of what had been the be-bop era," says Bartz. "Charlie Parker had passed away three years previously but Miles' group was in its heyday, Monk was down at the Five Spot, and Ornette Coleman was just coming to town. Things were fresh." Back then, Gary could regularly be found drinking Cokes in the all ages "peanut gallery" of Birdland, enjoying a marathon bill of performers. "If I didn't have money to get in. I'd help somebody carry a drum and sneak in," laughs Bartz. "I learned that early on."
Circa mid-'60s, the alto saxophonist - still in his early 20s - began performing throughout the city with the Max Roach/Abbey Lincoln Group and quickly established himself as the most promising alto voice since Cannonball Adderley. "In those days, we used to go by people's lofts and stay for weeks, just working on music," says Gary. "Polks would all chip in and buy food, and one of us would cook. But there was always music, because people were dropping by at all hours. We didn't even think about it; that's just what we did. We were very unselfish about what we were writing because, after all, music doesn't belong to any one person. It belongs to the people, to everybody" ...
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Jan 8, 2006
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Other links at Winds, Brass Instrument Manufacturers and players > saxophone > saxophone players jazz
1. bobby watson
Official website for saxophonist Bobby Watson features reviews, sound bites, itinerary, biography, cds, discography.
One of the pre-eminent players of his generation, alto saxophonist-composer Bobby Watson has accumulated an impressive body of work since the early ‘80s that showcases his undeniable individuality as an artist. Teaming remarkable Bird-like facility and bristling energy with an inherent soulful quality that comes directly out of the church, Watson’s recorded output to date covers a wide spectrum of expression in a variety of settings from solo sax to big band as well as a string of adventurous projects with his band Horizon (a quintet he co-led in the ‘90s with drummer Victor Lewis) and the 29th Street Saxophone Quartet.
Watson’s latest as a leader, Live & Learn , shows the saxophonist probing and pushing the envelope on surging numbers like “Thank You” and “River Jordan” while also delving deeply into his churchy roots with sanctified zeal on the contemporary gospel number “We Fall Down”. Accompanied by Orrin Evans on piano, Gregg Skaff on guitar, Montez Coleman on drums and Curtis Lundy on bass, he adopts a decidedly vocal approach to his horn on the soothing title track. As he says of that anthemic piece, “It’s sort of a reflection of life. That’s what we all have to do. We have to live and learn in order to grow, in order to survive. I think that’s the key to what life is about...make mistakes, live and learn. The piece itself comes in layers. The bass part starts with its own pattern and then the piano comes in and states a theme. But when you think you’ve got the melody then the guitar comes in with another melody. And then the final melody comes in with the saxophone. Basically, I wanted it to progress with every part that came in as complete unto itself. Those individual melodies represent the layers of experience and knowledge. When you think you’ve heard it all or know it all, there’s always more. And that’s how that tune feels to me” ...
One of the pre-eminent players of his generation, alto saxophonist-composer Bobby Watson has accumulated an impressive body of work since the early ‘80s that showcases his undeniable individuality as an artist. Teaming remarkable Bird-like facility and bristling energy with an inherent soulful quality that comes directly out of the church, Watson’s recorded output to date covers a wide spectrum of expression in a variety of settings from solo sax to big band as well as a string of adventurous projects with his band Horizon (a quintet he co-led in the ‘90s with drummer Victor Lewis) and the 29th Street Saxophone Quartet.
Watson’s latest as a leader, Live & Learn , shows the saxophonist probing and pushing the envelope on surging numbers like “Thank You” and “River Jordan” while also delving deeply into his churchy roots with sanctified zeal on the contemporary gospel number “We Fall Down”. Accompanied by Orrin Evans on piano, Gregg Skaff on guitar, Montez Coleman on drums and Curtis Lundy on bass, he adopts a decidedly vocal approach to his horn on the soothing title track. As he says of that anthemic piece, “It’s sort of a reflection of life. That’s what we all have to do. We have to live and learn in order to grow, in order to survive. I think that’s the key to what life is about...make mistakes, live and learn. The piece itself comes in layers. The bass part starts with its own pattern and then the piano comes in and states a theme. But when you think you’ve got the melody then the guitar comes in with another melody. And then the final melody comes in with the saxophone. Basically, I wanted it to progress with every part that came in as complete unto itself. Those individual melodies represent the layers of experience and knowledge. When you think you’ve heard it all or know it all, there’s always more. And that’s how that tune feels to me” ...
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2. claire daly
Baritone saxophonist Claire Daly's website features reviews, sound bites, cds, itinerary, projects, biography.
Claire will tell you that her life changed on Sept. 23rd, 1971, when as a very (very) young girl, playing saxophone for 3 months, she heard a big band concert at the Westchester County Center. The saxophone section stood up for a soli, and Claire was on her chair screaming. After dragging her father to the stage door for autographs afterwards, she said of the Buddy Rich Band bus, "I'd do anything to be on that bus". It was the kind of epiphany that only young enthusiasm can breed, but enthusiasm is still the motivating force in her musical life.
After attending the Berklee College of Music, she began an education of another kind -- making a living as a musician. Her career has included anchoring the sax section in the Diva Big Band for 7 yrs, freelancing in New York doing EVERY imaginable kind of gig (available on request!), recording 5 CDs with the brilliant, quirky composer/pianist Joel Forrester and their band "People Like Us", as well as two CDs as leader on Koch Jazz, ("Swing Low" and "Movin' On" now re-released on Dalybread Records) and a new release of her own called "Heaven Help Us All" (Dalybread Records). She has performed on numerous CDs, film scores, jingles, and of course in many festivals and venues.
She has backed up Aretha Franklin, James Brown, Joe Williams, Rosemary Clooney among many others, being an in-demand baritonist in every style of music. Leading her own jazz groups, and passing on to the next generation the gift of music, have been the mission of her life ...
Claire will tell you that her life changed on Sept. 23rd, 1971, when as a very (very) young girl, playing saxophone for 3 months, she heard a big band concert at the Westchester County Center. The saxophone section stood up for a soli, and Claire was on her chair screaming. After dragging her father to the stage door for autographs afterwards, she said of the Buddy Rich Band bus, "I'd do anything to be on that bus". It was the kind of epiphany that only young enthusiasm can breed, but enthusiasm is still the motivating force in her musical life.
After attending the Berklee College of Music, she began an education of another kind -- making a living as a musician. Her career has included anchoring the sax section in the Diva Big Band for 7 yrs, freelancing in New York doing EVERY imaginable kind of gig (available on request!), recording 5 CDs with the brilliant, quirky composer/pianist Joel Forrester and their band "People Like Us", as well as two CDs as leader on Koch Jazz, ("Swing Low" and "Movin' On" now re-released on Dalybread Records) and a new release of her own called "Heaven Help Us All" (Dalybread Records). She has performed on numerous CDs, film scores, jingles, and of course in many festivals and venues.
She has backed up Aretha Franklin, James Brown, Joe Williams, Rosemary Clooney among many others, being an in-demand baritonist in every style of music. Leading her own jazz groups, and passing on to the next generation the gift of music, have been the mission of her life ...
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3. ronnie cuber
Baritone saxophonist Ronnie Cuber's website features reviews, sound bites, cds, itinerary, projects, biography.
Ronnie Cuber, born December 25, 1941 in Brooklyn, New York, has been composing, arranging and leading his own groups since 1959. He is acknowledged to be one of the greats among baritone saxophonists, with a sound that is an exciting amalgam of straight-ahead jazz, hard bop, soul, R& B, and Latin, and with a power that has been compared to that of Pepper Adams. As a youth, Mr. Cuber's musical studies concentrated on the tenor saxophone. In his teens he was chosen to perform in Marshall Brown's Newport Youth Band at the 1959 Newport Jazz Festival. Brown already had a tenor saxophone player and offered Mr. Cuber a seat in the baritone saxophone section, an event that opened up a new performance world to the young artist.
By 1962 he had recorded with Slide Hampton, then went on to work and record with Maynard Ferguson's band from 1963-65. The following year Ronnie took the jazz world by storm as part of the orginal George Benson Quartet in a swinging hard bop quartet driven by the mighty Hammond B3 organ of Lonnie Smith. The band recorded 4 memorable albums for John Hammond at Columbia Records. After a stint with Lionel Hampton and filling the coveted baritone chair on Woody Herman's Band, Cuber augmented his New York session work by performing and recording with the the great Latin bands of Eddie Palmeri, Charlie Palmeri, Mario Bausa and Mongo Santamaria. Simultaneous to his early tenue with Palmeri, Ronnie was playing alongside and recording with R&B legend King Curtis while and backing Queen of Soul Aretha Franklin ...
Ronnie Cuber, born December 25, 1941 in Brooklyn, New York, has been composing, arranging and leading his own groups since 1959. He is acknowledged to be one of the greats among baritone saxophonists, with a sound that is an exciting amalgam of straight-ahead jazz, hard bop, soul, R& B, and Latin, and with a power that has been compared to that of Pepper Adams. As a youth, Mr. Cuber's musical studies concentrated on the tenor saxophone. In his teens he was chosen to perform in Marshall Brown's Newport Youth Band at the 1959 Newport Jazz Festival. Brown already had a tenor saxophone player and offered Mr. Cuber a seat in the baritone saxophone section, an event that opened up a new performance world to the young artist.
By 1962 he had recorded with Slide Hampton, then went on to work and record with Maynard Ferguson's band from 1963-65. The following year Ronnie took the jazz world by storm as part of the orginal George Benson Quartet in a swinging hard bop quartet driven by the mighty Hammond B3 organ of Lonnie Smith. The band recorded 4 memorable albums for John Hammond at Columbia Records. After a stint with Lionel Hampton and filling the coveted baritone chair on Woody Herman's Band, Cuber augmented his New York session work by performing and recording with the the great Latin bands of Eddie Palmeri, Charlie Palmeri, Mario Bausa and Mongo Santamaria. Simultaneous to his early tenue with Palmeri, Ronnie was playing alongside and recording with R&B legend King Curtis while and backing Queen of Soul Aretha Franklin ...
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4. tim armacost
Tim Armacost Official Site.
He has led a life of constant motion. He has gathered knowledge and experience around the globe, which forms the foundation of his passionate brand of jazz ...
music, jazz, saxophone, zen, horn, player, new york, band, quartet, quintet, big band, music education, sheet music.
He has led a life of constant motion. He has gathered knowledge and experience around the globe, which forms the foundation of his passionate brand of jazz ...
music, jazz, saxophone, zen, horn, player, new york, band, quartet, quintet, big band, music education, sheet music.
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Saxophonist Virginia Mayhew's' website features reviews, sound bites, itinerary, biography.
Saxophonist-composer-arranger Virginia Mayhew has been an active participant in the New York jazz scene since 1987. A native of San Francisco, Virginia came to New York in 1987, where she enrolled in the New School's Jazz Performance program, and was awarded its Zoot Sims Memorial Scholarship.
Since her arrival, Virginia has worked with such renowned artists as Norman Simmons, Al Grey, Toshiko Akiyoshi, Lew Tabakin, Joe Williams, Leon Parker, Clark Terry, Terry Gibbs, Kenny Barron, Chico O'Farrill, Claudio Roditi, and many others. She has appeared in most of the city's jazz venues, including the Blue Note, the Village Vanguard, the Village Gate, Sweet Basil, Fat Tuesday's, Birdland, Carnegie Hall, the Jazz Standard, Lincoln Center, and Town Hall, as well as performing throughout the United States, Europe, the Newly Independent States, the Caribbean, Bermuda, Australia, and Southeast Asia.
Virginia has performed at many jazz festivals as a leader, including the Monterey Jazz Festival, the JVC Jazz Festival, the Floating Jazz Festival, the Verizon Jazz Festival, the Mary Lou Williams Jazz Festival at the Kennedy Center, the San Francisco Jazz Festival, the San Jose Jazz Festival, the East Coast Jazz Festival, the Panasonic Jazz Festival, the Guinness Cork (Ireland) Jazz Festival, the Verizon Music Festival, the Perth International Arts Festival, the Melbourne Jazz Festival, Llangollen International Music Festival and other smaller festivals.
Virginia has also traveled to the Newly Independent States (formerly the USSR...Kazakhstan, Moldova, Armenia, Belarus, Ukraine) as a Jazz Ambassador for the US State Department, featuring the music of Louis Armstrong, and to Southeast Asia (Thailand, Laos, Viet Nam, Malaysia, India and Bangladesh) demonstrating the Latin and Brazilian influence on Jazz Music.
In addition, Virginia has established her credentials in the field of jazz education, both as a teacher of private students, as faculty at numerous jazz camps, and as an experienced clinician. She has traveled around the U.S.A. working as an adjudicator, teaching master classes, and working with school ensembles large and small. Her quartet performed at the 2002 IAJE Conference to rave reviews. She teaches at the Greenwich Music House, a 100-year-old community music center, where she is the director and founder of the Greenwich House Jazz Workshop.
For several years, Virginia worked with veteran trombonist Al Grey. She is featured on his 1992 release, FAB (Capri), and contributed several arrangements to his 1995 CD, Centerpiece (Telarc). Her arrangements were also performed during the "Battle Royale: Trombones and Alto Saxophones" concert, which was part of the 1994 Jazz At Lincoln Center ...
Saxophonist-composer-arranger Virginia Mayhew has been an active participant in the New York jazz scene since 1987. A native of San Francisco, Virginia came to New York in 1987, where she enrolled in the New School's Jazz Performance program, and was awarded its Zoot Sims Memorial Scholarship.
Since her arrival, Virginia has worked with such renowned artists as Norman Simmons, Al Grey, Toshiko Akiyoshi, Lew Tabakin, Joe Williams, Leon Parker, Clark Terry, Terry Gibbs, Kenny Barron, Chico O'Farrill, Claudio Roditi, and many others. She has appeared in most of the city's jazz venues, including the Blue Note, the Village Vanguard, the Village Gate, Sweet Basil, Fat Tuesday's, Birdland, Carnegie Hall, the Jazz Standard, Lincoln Center, and Town Hall, as well as performing throughout the United States, Europe, the Newly Independent States, the Caribbean, Bermuda, Australia, and Southeast Asia.
Virginia has performed at many jazz festivals as a leader, including the Monterey Jazz Festival, the JVC Jazz Festival, the Floating Jazz Festival, the Verizon Jazz Festival, the Mary Lou Williams Jazz Festival at the Kennedy Center, the San Francisco Jazz Festival, the San Jose Jazz Festival, the East Coast Jazz Festival, the Panasonic Jazz Festival, the Guinness Cork (Ireland) Jazz Festival, the Verizon Music Festival, the Perth International Arts Festival, the Melbourne Jazz Festival, Llangollen International Music Festival and other smaller festivals.
Virginia has also traveled to the Newly Independent States (formerly the USSR...Kazakhstan, Moldova, Armenia, Belarus, Ukraine) as a Jazz Ambassador for the US State Department, featuring the music of Louis Armstrong, and to Southeast Asia (Thailand, Laos, Viet Nam, Malaysia, India and Bangladesh) demonstrating the Latin and Brazilian influence on Jazz Music.
In addition, Virginia has established her credentials in the field of jazz education, both as a teacher of private students, as faculty at numerous jazz camps, and as an experienced clinician. She has traveled around the U.S.A. working as an adjudicator, teaching master classes, and working with school ensembles large and small. Her quartet performed at the 2002 IAJE Conference to rave reviews. She teaches at the Greenwich Music House, a 100-year-old community music center, where she is the director and founder of the Greenwich House Jazz Workshop.
For several years, Virginia worked with veteran trombonist Al Grey. She is featured on his 1992 release, FAB (Capri), and contributed several arrangements to his 1995 CD, Centerpiece (Telarc). Her arrangements were also performed during the "Battle Royale: Trombones and Alto Saxophones" concert, which was part of the 1994 Jazz At Lincoln Center ...
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