It was a late morning in a junior high school located in Long Beach, New York when a lonely, rarely used baritone saxophone chose an adolescent student named Roger Rosenberg as its sole and rightful owner. Moved by his music teachers' offer that whoever was willing to learn the instrument could own it, the youthful student approached the large, foreboding hunk of brass, got behind it and mysteriously felt quite comfortable and at home with it. "I jumped on the offer, and it just clicked! There was something about that instrument that was just meant for me. All I know is that I was capable and that I felt natural about it!" says Rosenberg.
That initial meeting and its aftermath have ushered Roger Rosenberg into concert venues and recording studios worldwide with artist credits ranging from Tito Puente
Born in New York City in 1951, Mr. Rosenbergs' first home was on Manhattans' upper west side. Home to a disproportionate number of Jazz musicians, the neighborhood practically ordained Rosenberg, from birth, to hear the cry of the horn and the lure of the late night club. It was at a tender age, in the mid sixties, that he attended a music summer camp outside of New Hope, Pennsylvania, baritone sax in tow. As fate would have it, the director was saxophonist Phil Woods, and the young student was seated next to fellow classmates that would one day make their mark.
"For three summers I had a scholarship to go to this camp and really it was the defining experience of my life! That's when I became friends with [fellow students] Michael Brecker
, he had all these great musicians come up and I began improving as a player. At that point it was clear, after that first summer I knew I wanted to be a musician, I was 13 or 14 years old.," adds Rosenberg.
Feeling socially awkward, as many teenagers do, the saxophonist began to practice incessantly and melded with his instrument while developing a new personal identity along the way. Buoyed by the feeling that he now belonged in the music community and encouraged by the exposure to the music of John Coltrane, Rosenberg delved deeply into his study of music eventually deciding on a year of studies at Indiana University and then onto Bostons' elite musical program.
"Joe Allard and Jackie Bayard were teaching at the New England Conservatory, I spoke to them and they arranged for me to meet Gunther Schuller
[President], I got on a train with my suitcase and my horn... went into his office ...played a Coltrane tune...he brought me in to meet the head of the Jazz department and he gave me a scholarship to go to the school," says Rosenberg.
Upon his return to New York City, a foreshadowing of things to come was awaiting him on the corner of 125th street and Broadway in Harlem. It was a dank club that was in his words, "semi-Latin," paid $25 a night to play in, and would eventually lead to stints with some of New Yorks' great Latin players. After performing briefly with conguero Luis Bauza, a friend informed him that Tito Puente needed a baritone man, yet, things were clearly not always jets, 4-star hotels and touring with Rock stars. Rosenberg; "I went and sat in with Tito Puente at a place called the Pan American Inn somewhere in Queens and got the job. We were making $25 a night on weekdays and $40 a night on weekends playing 2 gigs a night. It was really from that point on that I stopped taking money from my father, and that was a great feeling!"
Sitting aloft one of midtown Manhattans' high-rises, the casually attired saxophonist nestles into his couch and is quickly surrounded by his cadre of aging cats. Leaning forward and stroking one of his feline acquaintances, he reminisces about the time he spent with drummer Buddy Richs' big band and his desire to get back into a smaller unit where he could more readily develop his soloing. Hearing of an opening in Mongo Santamarias' band, Mr. Rosenberg makes a call and is enlisted in Mongos' army of urbane guerrillas. Constant touring and an album, Sofrito (Fania 1976), ensued before a second enterprise, the Grammy award winning, Amanacer (Fania) followed. In keeping with the clave rhythm, the saxophonist next works with Ray Baretto which eventually leads to a Joe Sample produced crossover effort entitled, "The Eye of the Beholder" before working with Eddie Palmieri and later with his own Latin-Jazz ensemble, Jasmine, whose album received a good amount of airplay.