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Stanley Turrentine
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Stanley William Turrentine was one of the most distinctive tenor saxophonists in jazz. Known for his big, warm, sound, "The Sugar Man" or the original "Mr. T" found inspiration in the blues and turned it into a hugely successful career with a #1 hit and four Grammy nominations — first in R&B and then in jazz. Born on April 5, 1934 in Pittsburgh, a city that has produced more than its share of jazz masters, Turrentine hailed from a musical family. His saxophone-playing father was a big influence, as was his stride piano-playing mother and older brother, the late trumpeter Tommy Turrentine. One of Stanley's earliest influences on sax was tenor great Illinois Jacquet
The Jazz Innovator: Jerald Miller
by B.D. Lenz
It's understood that talent alone is rarely enough to be successful in the music business. Among other things, it requires drive, relentless hard work, resilience, and a certain level of business acumen. But, in the last few decades, it's become increasingly important to be tech-savvy as well. To highlight the difference, could you imagine Miles Davis ...
BARI-ed Alive: Put It There
by Pierre Giroux
In an era teeming with standard horn sections and predictable lineups, BARI-ed Alive's Put It There stands out as a bold and sonorous declaration of individuality. The sextet's audacious choice to feature three baritone saxophones--masterfully played by Alex Dean, Shirantha Beddage, and Chris Gale--creates a sound that is muscular, bottom-heavy, and perhaps surprisingly buoyant. Rounded out ...
Ten Terrific Sax Plus Organ Combinations
by Artur Moral
OK, maybe the electric guitar was its first and most celebrated love affair, but the organ's alliances with the saxophone's family members are undoubtedly among the richest musical combinations, both in terms of sound and the intense interrelationships that typically develop in such encounters. Whether it be a tenor with a Hammond, a soprano with an ...
Take Five with Saxophonist Noah Peterson
by AAJ Staff
Meet Noah Peterson While his troubadour days are behind him, Noah continues to have musical adventures. From his many bands and explorations of different genres of music Noah always has his fingers in something. His latest adventure includes his brand new quartet recording of all original music Coming Home To You and the rebirth of The ...
Russell Gunn: No Safety Net, No Overdubs, Just Pure and Original
by Dean Nardi
One of the reasons podcasts have become so popular is they provide listeners with the experience of hearing people live, raw and unedited with no safety net as opposed to reading an article in a magazine or on the Internet. Even a Question & Answer interview is edited to remove repetitive comments and all the “ums" ...
Jazz on Soul, Pop, Rock, Folk, and other intangible territories - Part 2
by Artur Moral
Part 1 | Part 2 James Carter soloing on a song by Sting? A prolific French guitarist and producer, approaching his thousandth album, deconstructing one of Billy Joel's most candid love songs? A Spanish trumpeter translating the Bee Gees into the jazz language? Yes, all this will happen in this second installment of a ...
Take Five With Saxophonist / Composer Wataru Uchida
by AAJ Staff
About Wataru Uchida Wataru Uchida is a saxophonist and composer who has been leading jazz projects in New York City since 2003. He studied saxophone performance and composition with Chico Freeman. In 2001, Wataru worked as a teaching assistant of Rory Stuart's rhythm analysis class at New School University Jazz & Contemporary Music program. ...
Saxophone Meets Guitar: The Dynamic Duo of Jazz
by Robert Middleton
Imagine a smoky jazz club where the deep, soulful wail of a saxophone weaves effortlessly with the nimble, melodic lines of a guitar. This rare instrumental combination is a hidden gem in the world of jazz that deserves more attention. Jazz is not just a genre--it is a universe with galaxies of swing, bebop, ...
Dorothy Ashby: Afro-Harping Deluxe Edition
by Chris May
There are certain instruments that struggled for attention in the years when the jazz ecology was an overwhelmingly male preserve--or rather, when many men perceived jazz to be a male preserve, and a heterosexual, alpha male one at that. Exhibit A, the flute, was described by one leading male alto saxophonist, a near contemporary of Charlie ...
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