Take Four Giant Steps
| 1. | Childhood Memories: Tag (2:21)  |
| Gary Lindsay (GMichael Music/ASCAP) | |
| 2. | Giant Steps (7:23) |
| John Coltrane (Jowcal Music/BMI), Arranged by Gary Lindsay | |
| 3. | Waltz for Joshua (8:28) |
| Gary Lindsay (GMichael Music/ASCAP), Glen Basham - violin | |
| 4. | Thank You (5:39) |
| Jerry Dodgion (Second Floor Music/BMI) | |
| 5. | Saxophone Quartet No. 1 (7:45) |
| John Carisi (Margun Music/BMI) | |
| 6. | Childhood Memories: Romance (5:38) |
| Gary Lindsay (GMichael Music/ASCAP) | |
| 7. | Intoxicated Rag (2:20) |
| Gary Lindsay (GMichael Music/ASCAP) | |
| 8. | Quartet No. 1 - I. Allegretto (2:55) |
| Bob Mintzer (Mintzer Music Co./ASCAP) | |
| 9. | Quartet No. 1 - II. Slowly |
| Bob Mintzer (Mintzer Music Co./ASCAP) | |
| 10. | Quartet No. 1 - III. Allegro |
| Bob Mintzer (Mintzer Music Co./ASCAP) | |
| 11. | Childhood Memories: Hide and Seek |
| Gary Lindsay (GMichael Music/ASCAP) | |
| 12. | America the Beautiful |
| Arranged by Gary Lindsay (GMichael Music/ASCAP) |
Available online from Amazon.com.
The saxophone quartet can be a thing of beauty when the expansive sound and color possibilities of the instruments are fully utilized. It can also become a deadly weapon in the wrong hands when, for example, the ensemble brings a sameness to all it plays. Fortunately the Miami Saxophone Quartet has chosen the former rather than the latter approach. This is a fine ensemble, due in great part to the way these players combine such scope with meticulous attention to detail. Phrasing, shaping, and contrast are paramount here, and the performance is varied and powerful.
The flexibility of the instrument makes the saxophone quartet a logical meeting ground for elements of jazz, classical and chamber music, groove and the blues. On this recording the Miami Saxophone Quartet joins these various styles together seamlessly, offering an interesting and eclectic musical program. While listening to this recording I was able to hear the influences of Thad Jones, Woody Herman, Ellington, Stravinsky, Debussy, even Muddy Waters. Yet the group has its own distinct sound, thanks to the insightful choice of material and the expertise of the players, some of Miami's finest.
Prominently featured are the compositions and arrangements of alto saxophonist Gary Lindsay, who knows a thing or two about orchestration (he teaches arranging and composition at the University of Miami). Gary has the ability to squeeze a multitude of shapes and colors out of the quartet. He takes the listener on a journey through childhood (three pieces prefaced by the title Childhood Memories) and down to Bourbon Street with a piece called "Intoxicated Rag." He also turns the Coltrane signature tune "Giant Steps" inside out, outside in, upside down, and every which way. On "Waltz for Joshua," a Lindsay original, Gary takes yet another turn with the addition of Glen Basham, violin professor at the University of Miami and concertmaster of the Naples (Florida) Philharmonic. The combination sounds great (I may have to steal this idea!). Glen plays with a beautiful tone, and his jazz phrasing is right on the money. Finally, Gary's arrangement of "America the Beautiful" is especially heartwarming to this New Yorker. Aside from all its implications, this is simply a beautiful melody, put in a setting that does it justice.
Rounding out the CD are pieces by saxophonist Jerry Dodgion, a Thad and Mel alum with whom I've had the pleasure of working in New York, a quartet by Johnny Carisi, one of the unsung heroes of jazz composition and a long-term affiliate of Gil Evans, and my own Saxophone Quartet #1. Jerry's piece, "Thank You," is a gorgeous song that we played occasionally during my time with the Jones/Lewis band.
I am a player, a composer, and a big fan of music, and wearing all these hats has helped me realize that above all, music is subjective. What one person likes, the next may not. What one finds complex and profound, the next may find simple and obvious. With that in mind I try not to impose my own agenda in fear of swaying the listener from his or her own thoughts and perceptions. But personally speaking, I truly enjoyed this CD! Also, knowing the players and composers (except for this Mintzer guy? self knowledge is a lifelong endeavor), I can appreciate where the music came from. And as a player, I know how hard it is to produce an ensemble this tight.
I sincerely hope you enjoy this recording as much as I have.
Peace,
Bob Mintzer
I began writing for the Miami Saxophone Quartet in May 2001. I was fortunate to know the other players in the quartet personally and professionally, and was determined to write music they would find challenging and enjoyable. My approach to writing for this group is akin to writing for string quartet; I strive for music that develops out of four independent, musical personalities. Saxophonists are accustomed to playing in a section with rhythm accompaniment, so the major challenge when writing for this a cappella quartet is to creatively maintain the energy and harmonic base without completely "wasting" the performers. Everyone can't play all of the time!
I am very pleased with the outcome of this recording and look forward to many more musical adventures with the MSQ.
Gary Lindsay