SEEKINGBand to Join, Vocalist, Piano, Lead Guitar, Drums, Bass Guitar.
Grew up in recording studios. Parents were active conservatory trained musicians. Became intimately familiar with those dynamics uniquely suited to live performance and studio sessions.
Started out on drums at age seven and continued till age 13 when I saw the movie "New York, New York."
Was captivated by and strongly identified with Georgie Auld's tenor saxo work in the movie soundstrack. Immediately set out to intimtely familiarize myself and learn everything he performed on that soundtrack.
Though largely self taught, I did however receive tutoring from my father on an 'as needed' basis.
Started gigging at age 15 years old. Attended Mt. Hood College and performed in the "A" Band in 1981.
Continued to develop as an instrumentalist and singer of the 'Great American Songbook' until my father's untimely death in 1987. Subsequently laid off playing and performing for approximately one year as father's passing presented something of challenge where obtaining steady bookings was concerned. He had previously managed me and coordinated all my booking prior to his passing.
Went back to performing locally in 1988 while working in Corporate America and attending college.
During Summer of 1988, childhood dream of performing w/Georgie Auld was realized at the first Emerald Valley Ridge Winery Jazz Festival held in Roseburg, Oregon. It was a "meant to be" experience as Georgie passed away shortly thereafter. Not to sound too sentimental, but it could not have been better. Frank Guido, the owner of the winery was very supportive, not to mention complimentary as well.
Have always performed in terms of thinking of "what I would like to hear if I was a 'paying customer' hoping to hear the best tenor saxophonist anywhere.
While this may admittedly be something of a 'lofty goal,' it is one that has been (I am happy to say) frequently achieved.
I came to the aforementioned conclusion based on the many instances where listeners in attendance have come up to me at the end of numerous performances over the years, and so advised me that they felt I was one of the few people they have ever heard that "actually knows what a Tenor Saxo is supposed to sound like."
Interpretation, improvisation and musicality are of premier importance to me at all times.
Spent many years (and still do) listening and analyzing a multitude of saxophonists, many of which regrettably have since passed away.
Conservatively speaking, the tone of my horn is usually fat and bright. Some say it is reminiscent of Texas style players that used lung power to get heard before the mic technology was readily available and in use. Unlike most saxophonists, my horn "gets out."
Bottom register of the tenor is as strong as the middle and upper. As far as phrasing goes, I tend to lay back behind the beat, a la Sinatra.
Able to bend notes like a pedal steel guitar (as needed) when playing Country Music or like Johnny Hodges when playing Duke Ellington.
Proud of my ability to show groups that did not know how to make good use of a saxo, the value of it in the Rock and Country Music arrangements that may have previously had little or no known associations with the use of tenor saxos.
The results have been incredible having successfully added dimensions to compositions that were previously missed in the originaly popular recordings. Most of those that heard such renditions often said they were as good if not better than the original recordings. Frankly, as compliments go, it does not get much better than that.
May sound hard to believe, but the aforementioned has happened repeatedly. My references and performances confirm this where adding horn lines that compliment basic core arrangements to the point where it frequently pushed them (musically speaking) over the top in a postive way.
It is acknowledged that there is a fine line between arrogance and confidence. I like any perfectionist, frequently straddle it.
It is my sincere belief that the obligation of every professional musician is to play only when it serves to compliment the music being performed. So, if it is better to "lay out," then that is what will be done.
Nicest backhanded compliment ever received: "Ya know, for a white boy, you don't play half bad."
Vocal Range: Baritone.
Singing Backgroung: Have sung fair amount of 'Saloon Songs' from Bennett/Sinatra Song Book. Vocals in keeping with my horn work.
Back Up Singing Background: Run the gammut of being a Basso Baritone to doing top flight falsetto high harmonies often associated with "Beach Boys."
Other Instruments: Double on flute and drums for those applications that require the use of same.
Am adept at reading, composing and arranging music.
Have been advised by a number of knowledgeable people that people like myself typically do not exist today as I intuitively known what musically needs to be done when performing works that predate my existence by many decades. The explanation most often given to me is that "you had to have lived previously during the Big Band Era, as there is no other plausible explanation for why or how it is you know stylistically what to do.
Being that I make an ardent effort to listen to (and take to heart) what people share with me, I have since become intimately familiar with the paranormal so as to better understand what these entities in passing have shared with me.
I also hold a Class-A CDL with Doubles, Triples and Tanker Endorsements as I have a natural affinity for Big Rigs and converted highway (Greyhound)coaches. Have a special appreciation for 2 Cycle Diesel Detroits. Of course, over the years I have also come to appreciate the 4 cycle Detroit 60 Series along with certain select models of the Caterpillar line.
In addition to the aforementioned, I have 18+ years in Accounts Receivables Management having to do with Consumer and Commercial Credit (Commercial Leasing, Credit Cards, Lines and Loans, Pre-legal and Legal Receivables, Aircraft, Long Distance, Wireless, Automotive Finance Paper, and Arbitration Management, all courtesy of Corporate America.
Am acutely aware (and reminded) that they do not make people like me anymore.
My Favorite Books:
"Unintended Consequences" by (John Ross and "The Creature from Jekyll Island" By Edward G. Griffin. (A book that comprehensively explains how the privately owned bank, referred to as the "Federal Reserve Bank," and why it is technically not part of the Federal Government per se)
Every day above ground is a good day.
Treat people the way you want to be treated and it will come back to you ten-fold.
Treat every performance like it is your last, and you will always play at or near your best.
If you think you can, you can. If you think you can't, you're right.
Drummers that cannot play have a beat like a retired cop.
You cannot make mayonnaise without cracking a few eggs.
If you know you only have a couple of minutes to live, hard boil an egg.
Understanding that on earth evil usually prevails over good unless good is very careful pre-supposes that in order for good to be very careful, it had to learn intimately enough about how evil thinks without becoming evil incarnate. If I have learned nothing else, I have learned that. (It has been said that many people go through their whole life without being able to self-articulate that.)
Most people say they want the truth, but their actions for the last 100+ years indicate they cannot handle it.
Actions always speak louder than words.
The nature of humans has not changed, just merely the technology.
If you do not understand a particular word, there is a resource available most typically referred to as a dictionary.
Just because a person may be ignorant does not give them the right to demand a better educated person cow-tow to their ignorance. To ask this of an educated person is Un-American and down right selfish. If someone is not sure about a word they heard, look it up in a dictionary. If you do not have access to a dictionary, go to the library and look it up. To use a library for reference purposes is still free. There is no excuse for staying ignorant. None.
Ignorance is curable. But, stupid is forever.
If we do not pay attention to history, then we are doomed to repeat it.
People are the best investment. If you invest wisely, you get what you pay for and it comes back to you 10 fold.
Before there were guitar stars, there were horn playing gods that enjoyed the same celebrity status reserved for movie stars. This all changed when the musicians union got greedy and called the Recording Ban in the early 1940's. When this happened the only people that could record were strings (including guitars) and vocals. This opened the door for the world of the singer (Sinatra) when prior to the Recording Ban, singers were a side show novelty. The the world of electric guitars then soon followed suit. The rest is history.
If a person does not know history, then they cannot know what is referred to as present day truths, let alone the agendas that said truths may ultimately serve.
1. To perform in circumstances that encourage and permit seasoned players the opportunity to perform (with spirit and integrity) great music from the Great American Song Book for people that enjoy and genuinely appreciate hearing it.
2. Identify Personal Management Talent that believes in investing in people that can go the distance.
3. Inspire people all over the world to love and be loved unconditionally.
4. Demonstrate to the world, that even with the worst set of odds, you can pevail, survive and prosper in the face of both adversity and mediocrity.
5. To be in a position to help those less fortunate on a more frequent basis.
6. Build a museum dedicated to remembering the Big Band Era.
7. Leave a legacy of great memories and hopefully even better music.
My Email: topsax at aol dot com.
My Number: 719-243-0315 at "Todd and Associates."
- Screen name:
- Member since:
- Jan 22 2007
- Active over 1 month ago
- Level of commitment:
- Very Committed
- Years playing music:
- Gigs played:
- Over 100
- Tend to practice:
- More than 3 times per week
- Available to gig:
- 6-7 nights a week
- Most available:
As far as my tenor saxo work is concerned, my influences are in order of study: Georgie Auld, Herschal Evans, Lester Young, Stan Getz, Gene "Jug" Ammons, Leo Parker, Ben Webster, Plas Johnson, Arnett Cobb, Buddy Tate, Illinois Jacquet, Dexter Gordon, Zoot Simms, Al Cohn, Serge Chaloff, Eric Dixon, Jimmy Forrest, Sam Taylor, Boots Randolf, Ace Cannon, Wardell Gray, Warren Marsh, Earle Washington, Russell Procope and Pete Christlieb to name a few.
Flute: Self taught.
Vocal influences: Tony Bennett for power and Frank Sinatra for phrasing and emotional projectioning.
Bassist: Ray Brown
Trombones: J.J. Johnson, Slide Hampton, Al Grey and Bill Watrous.
Trumpet: Maynard Ferguson, Clark Terry and Conte Condoli.
Tenor Sax: Pete Christleib
Baritone Saxo: Serge Chaloff, Gerry Mulligan, Nick Brignola and Harry Carney.
Piano: Art Tatum, and Peter Nero.
Drums: Trin F. Dumlao, Gene Krupa, Hank Andrews and Buddy Rich.
Guitar: Joe Pass, Herbie Ellis, Charlie Christian, B.B. King, Narek "Roth" Patterson and Gary Moore from Dublin.
Vibra: Lionel Hampton
My Email Address: topsax at aol dot com.
My Number: 719-243-0315 at "Todd and Associates."
Selmer Super Action 80 Serie II Tenor Saxophone blown through a Berg Larsen Bronze SMS-130/2 Tenor Saxophone Mouthpiece using La Voz Medium-Hard Tenor Sax Reeds.
Flute: Armstrong, French Open Holed, Standard C-Foot, Gold over Sterling in a French leather Case.
Wireless Tenor Saxophone Mic equipment using Audio Technica Condensor Mic, EV-ND-357 Cardioid Vocal/Saxophone Mic, SM-48(Omnidirectional), and a SM-58 (Omnidirectional).
Lexicon Effects Rack running through Fender Hot Rod Deville Tube Amp on a Roll-Away Touring Amp Case.
My Email Address: topsax at aol dot com.
My Phone Number: 719-243-0315 at "Todd and Associates."