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ronnie cuber
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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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Jan 8, 2006
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Other links at Winds, Brass Instrument Manufacturers and players > saxophone > saxophone players jazz
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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.
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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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Website for Jeff Rzepiela, saxophonist, flutist, arranger, and jazz improvisation teacher. Numerous solo transcriptions and online lessons available.
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5. 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."
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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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