Results for "saxophone, tenor"

Dino Govoni

Born: June 5, 1962

One of the most versatile contemporary saxophonists is undoubtedly Dino Govoni. Govoni learned from two tenor sax greats, Jerry Bergonzi and George Garzone, and furthered his studies by attending Berklee College of Music, studying with the late, great Joe Viola. Govoni hit the road right away with a variety of musical outfits, playing and/or recording with such diverse artists as Grover Washington Jr., Randy Brecker, Eddie Gomez, Billy Hart, Terri Lyne Carrington, Larry Goldings, Bill Stewart, Arturo Sandoval, Cindy Blackman, Joe Beck, Jason Miles, Prassana, Terence Trent D'Arby, Robben Ford, Tom Brechtlein, Ed Spargo, Mel Tormé, the Manhattan Transfer, the Boston Pops, the Tommy Dorsey Orchestra, the John Allmark Jazz Orchestra, Frankie Valli, and Englebert Humperdinck, among others. Govoni has two recordings under his own name to date, “Breakin' Out”, and "In the Library", both on the Whaling City Sound label

Dave Turnbull

Born: January 10, 1952

Carl Smith

Born: May 15, 1975

A short history of E.C.F.A. and Carl Smith:

E.C.F.A. stands for emanation, creation, formation, and action. I frequently came across references to these different levels of existence in my Judaic and Yoruba studies. I wasn't interested in naming my group, but having a name is essential for getting gigs and I felt that "The Carl Smith Trio" sounded too vain.

E.C.F.A., a trio of musicians organized by tenor saxophonist/composer Carl Smith, was first established in early 1997 in Austin, Texas as a vehicle for Smith's ideas in creative music making which stemmed from avant-garde jazz and American experimental music

Bob Jacobson

Born: 1950

Like most sax players, I started on clarinet as a kid and have become increasingly involved in clarinet over the past several years, even creating a 3-clarinet (plus guitar & bass) band called Jazz Clarinets Galore. I also lead two other combos in which I play both sax & clarinet: Sounds Good and Swing 'N' Samba. My jazz playing is mostly mainstream but since attending the Salsa Meets Jazz/Afro-Caribbean Jazz Seminar led by Eddie Palmieri & his octet members in 2001, I've been increasingly interested in Latin music, and have composed rumbas, boleros and tangos.

Since Fall, 2003 I've been on the board of the advocacy organization Baltimore Jazz Alliance

Bert Wilson

Born: October 15, 1939

I was born in Evansville, IN in 1939, and at the age of 4, I contracted polio. I've been in a wheelchair ever since. The chair doesn't define me, but it has affected my life (and certainly my access to those basement jazz clubs). I got into jazz while living in a hospital school in Chicago, where one of the other kids turned me on to Charlie Parker at the age of 10. THAT affected my life far more than the polio did! Upon graduating from high school, I moved to L.A. and became a part of the "fringe" jazz scene there (in the early-to-mid '60s). By this time, I could play a bunch of "Bird's" music in 12 keys, but Ornette Coleman and 'Trane had gone off into a more modal free space and that's what all my friends wanted to play

Anton Schwartz

Born: July 16, 1967

“What I require for music to really captivate me,” Anton says, “is groove and intellect working in tandem. Music that gets into your bones, into your head and into your heart.” From Louis Armstrong and Lester Young to Charlie Parker and John Coltrane, jazz’s greatest improvisers create music that carries an emotional wallop. It’s a lesson that tenor saxophonist Anton Schwartz learned well. Like the giants from whom he draws inspiration, Schwartz approaches jazz as a vehicle for reaching the heart and the head. At a time when many of his contemporaries seem to be making music more for their musical colleagues than a wider audience, Schwartz stands out as a player determined to communicate with his listeners

Ahmad Alaadeen

Born: July 24, 1934

Born in Kansas City, on July 24, 1934, Alaadeen grew up around music. “I listened to all types of styles. I went to Philharmonic concerts, loved Lester Young, liked T-Bone Walker and was crazy about Eddie “Cleanhead” Vinson. He began on the saxophone when he was in sixth grade, in time also mastering flute, clarinet and oboe. He studied at R.T. Coles High School under the tutelage of Leo H. Davis, a well respected music instructor reported to have taught Charlie Parker. “The way he taught improvisation was to sing the melody in my ear when I soloed so I’d always keep the melody in mind.” Alaadeen debuted as a professional with Davis’ concert band playing e-flat horn when he was 14 and his first major job was playing baritone sax with the great pianist-bandleader Jay McShann