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loren schoenberg
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Loren Schoenberg's website features music, cds, bios, electronic press kit.
"Some people say to me, 'You should have been born fifty years earlier'," conductor/saxophonist/scholar Loren Schoenberg told John Robert Brown in an interview found on The Jazz Museum in Harlem's website. "Of course I would have grown up to the great music of Benny Goodman and Artie Shaw. And I'd have probably spent my life interviewing the widow of Scott Joplin!" A historian by nature, Loren Schoenberg became a fixture in the jazz world with his encyclopedic knowledge about the genre and passion for preserving its past while making it eminently contemporary. Today, in addition to his work performing, conducting, writing, and teaching, Schoenberg has been named Executive Director of The Jazz Museum in Harlem.
Loren Schoenberg was born July 23, 1958 in Fairlawn, New Jersey. His father worked for the New York Telephone Company. His mother, a children's librarian, began teaching Loren the piano when he was three. A year later, she found a neighborhood piano teacher to take her son beyond simple scales. Schoenberg's love of old films led him to Benny Goodman, and his love of Goodman's music made Schoenberg a jazz fan in the early 1970s. Jazz's heyday as a popular music form was over by that point, and while Schoenberg was collecting classic 78 rpm records by jazz originators like Louis Armstrong, Jelly Roll Morton, and "Fats" Waller, most of his peers were busy listening to rock and roll and folk music.
Scholars disagree over how to best define jazz. In his book, The NPR Curious Listener's Guide to Jazz (2002), Schoenberg wrote: "What makes Jazz music different from country, classical, rock, and other well-known genres is its basic malleability ...
"Some people say to me, 'You should have been born fifty years earlier'," conductor/saxophonist/scholar Loren Schoenberg told John Robert Brown in an interview found on The Jazz Museum in Harlem's website. "Of course I would have grown up to the great music of Benny Goodman and Artie Shaw. And I'd have probably spent my life interviewing the widow of Scott Joplin!" A historian by nature, Loren Schoenberg became a fixture in the jazz world with his encyclopedic knowledge about the genre and passion for preserving its past while making it eminently contemporary. Today, in addition to his work performing, conducting, writing, and teaching, Schoenberg has been named Executive Director of The Jazz Museum in Harlem.
Loren Schoenberg was born July 23, 1958 in Fairlawn, New Jersey. His father worked for the New York Telephone Company. His mother, a children's librarian, began teaching Loren the piano when he was three. A year later, she found a neighborhood piano teacher to take her son beyond simple scales. Schoenberg's love of old films led him to Benny Goodman, and his love of Goodman's music made Schoenberg a jazz fan in the early 1970s. Jazz's heyday as a popular music form was over by that point, and while Schoenberg was collecting classic 78 rpm records by jazz originators like Louis Armstrong, Jelly Roll Morton, and "Fats" Waller, most of his peers were busy listening to rock and roll and folk music.
Scholars disagree over how to best define jazz. In his book, The NPR Curious Listener's Guide to Jazz (2002), Schoenberg wrote: "What makes Jazz music different from country, classical, rock, and other well-known genres is its basic malleability ...
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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. steve wilson
Alto saxophonist Steve Wilson's website features reviews, sound bites, itinerary,
biography, cds.
“Adept in almost any setting, Wilson has the rare ability to say more with less and to let the space between each note breathe and resonate” (George Varga, The San Diego Tribune). It is these qualities that have earnedSTEVE WILSON the enviable position of being on the bandstand and in the studio with the greatest names in jazz. He is also “gifted with fabulous technique and a first-rate sense of what’s musical” (Dan Neal, The Palm Beach Post), qualities that have earned him critical acclaim as a bandleader. A musician’s musician, Wilson had been documented on over 100 recordings with the likes of Chick Corea, Dave Holland, Dianne Reeves, O.T.B., Donald Brown, Billy Childs, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller. Wilson has six recordings under his own name. His sidemen read as a who’s who: Lewis Nash, Cyrus Chestnut, Kevin Hays, Steve Nelson, Gregory Hutchinson, Dennis Irwin, James Genus, Larry Grenedier, Ray Drummond, Ben Riley, Mulgrew Miller, Nicholas Payton, and his current working quartet of Bruce Barth, Ed Howard and Adam Cruz.
In a New York Times poll, Wilson was cited by his peers as one of the most likely artists to break out [on his own] as an established leader. And break out he does with his debut Stretch Records release, Generations. His second release for Stretch Records, Passages, features Bruce Barth, Ed Howard and Adam Cruz, with special guest Nicholas Payton, and nine original tunes written by Wilson. It establishes Wilson as an eclectic songwriter and bandleader, recording for the first time with his working band. The original material reflects upon the wonderful legacy left behind by some of the legends the jazz world has recently lost, and explores straight-ahead swing jazz and delves into strains of R&B, Afro-Cuban and Latin music. Wilson's first four CDs (New York Summit, Step Lively, Blues for Marcus and Four For Time) are on the Criss Cross label ...
biography, cds.
“Adept in almost any setting, Wilson has the rare ability to say more with less and to let the space between each note breathe and resonate” (George Varga, The San Diego Tribune). It is these qualities that have earnedSTEVE WILSON the enviable position of being on the bandstand and in the studio with the greatest names in jazz. He is also “gifted with fabulous technique and a first-rate sense of what’s musical” (Dan Neal, The Palm Beach Post), qualities that have earned him critical acclaim as a bandleader. A musician’s musician, Wilson had been documented on over 100 recordings with the likes of Chick Corea, Dave Holland, Dianne Reeves, O.T.B., Donald Brown, Billy Childs, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller. Wilson has six recordings under his own name. His sidemen read as a who’s who: Lewis Nash, Cyrus Chestnut, Kevin Hays, Steve Nelson, Gregory Hutchinson, Dennis Irwin, James Genus, Larry Grenedier, Ray Drummond, Ben Riley, Mulgrew Miller, Nicholas Payton, and his current working quartet of Bruce Barth, Ed Howard and Adam Cruz.
In a New York Times poll, Wilson was cited by his peers as one of the most likely artists to break out [on his own] as an established leader. And break out he does with his debut Stretch Records release, Generations. His second release for Stretch Records, Passages, features Bruce Barth, Ed Howard and Adam Cruz, with special guest Nicholas Payton, and nine original tunes written by Wilson. It establishes Wilson as an eclectic songwriter and bandleader, recording for the first time with his working band. The original material reflects upon the wonderful legacy left behind by some of the legends the jazz world has recently lost, and explores straight-ahead swing jazz and delves into strains of R&B, Afro-Cuban and Latin music. Wilson's first four CDs (New York Summit, Step Lively, Blues for Marcus and Four For Time) are on the Criss Cross label ...
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Jazz saxophonist's website features recordings, teaching, writing, biography, reviews.
David Alan Gross attended the Hartt College of Music in the late sixties. In the early seventies he went on to study privately with three stellar teachers whose legacies he carries on to this day. He studied saxophone for two years with Joe Allard, who covered principles of tone reproduction and saxophone technique. Gross also studied two years with Metropolitan Opera principal flutist Harry Moscovitz, concentrating on the classical flute repertoire. With jazz keyboard harmony teacher John Mehegan, Gross rounded out his studies, exploring the basics of chord changes and jazz composition.
Starting in the early eighties, he worked for drumming great Bob Moses, and appeared on three of Bob Moses' CDs, including When Elephants Dream of Music, A Visit With The Great Spirit and The Story of Moses.
With the advent of the nineties, Gross did three tours of Italy culminating in the 1993 recording Le Mille e Una Notte for Italian pianist/composer Francesco D'Errico ...
David Alan Gross attended the Hartt College of Music in the late sixties. In the early seventies he went on to study privately with three stellar teachers whose legacies he carries on to this day. He studied saxophone for two years with Joe Allard, who covered principles of tone reproduction and saxophone technique. Gross also studied two years with Metropolitan Opera principal flutist Harry Moscovitz, concentrating on the classical flute repertoire. With jazz keyboard harmony teacher John Mehegan, Gross rounded out his studies, exploring the basics of chord changes and jazz composition.
Starting in the early eighties, he worked for drumming great Bob Moses, and appeared on three of Bob Moses' CDs, including When Elephants Dream of Music, A Visit With The Great Spirit and The Story of Moses.
With the advent of the nineties, Gross did three tours of Italy culminating in the 1993 recording Le Mille e Una Notte for Italian pianist/composer Francesco D'Errico ...
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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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4. gary bartz
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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Website for Jeff Rzepiela, saxophonist, flutist, arranger, and jazz improvisation teacher. Numerous solo transcriptions and online lessons available.
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