Casey Benjamin is a saxophonist, keyboardist, producer and songwriter from South Jamaica Queens, New York City. He attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts and the The New School for Jazz and Contemporary Music in Manhattan. He is one half of the funk pop new wave duo HEAVy with vocalist Nicky Guiland, and currently plays with Q-Tip (rapper), Mos Def, Stefon Harris and The Robert Glasper Experiment. He is the keyboard/saxaphonist for Patrick Stump's live solo project tour.

Reference

Category:American saxophonists Category:CIMP artists Category:Year of birth missing (living people) Category:Living people

de:Casey Benjamin

name	Grover Washington, Jr.
background	solo_singer
birth name	Grover Washington, Jr.
born	December 12, 1943Buffalo, New York
died	December 17, 1999New York City, New York
instrument	Vocals, Saxophone
genre	Jazz, Soul, R&B;
occupation	Musician, Saxophonist, Singer-songwriter
years active	1971–1999
label	Kudu, Motown, Columbia
website	}}

Grover Washington, Jr. (December 12, 1943 - December 17, 1999) was an American jazz-funk / soul-jazz saxophonist. Along with George Benson, John Klemmer, David Sanborn, Bob James, Chuck Mangione, Herb Alpert, and Spyro Gyra, he is considered by many to be one of the founders of the smooth jazz genre. He wrote some of his material and later became an arranger and producer.

Throughout the 1970s and 1980s, Washington made some of the genre's most memorable hits, including "Mister Magic," "Reed Seed," "Black Frost," "Winelight," "Inner City Blues" and "The Best is Yet to Come". In addition, he performed very frequently with other artists, including Bill Withers on "Just the Two of Us" (still in regular rotation on radio today), Patti LaBelle on "The Best is Yet to Come" and Phyllis Hyman on "A Sacred Kind of Love". He is also remembered for his take on the Dave Brubeck classic "Take Five", and for his 1996 version of "Soulful Strut".

Washington played on black nickel-plated saxophones made by Keilwerth. These included a model SX90R alto, a model SX90R tenor, and a soprano.

Biography

Early life

Washington was born in Buffalo, New York on December 12, 1943. His mother was a church chorister, and his father was a collector of old Jazz gramophone records and a saxophonist as well, so music was everywhere in the home. He grew up with the great jazzmen and big band leaders like Benny Goodman, Fletcher Henderson, and others like them. At the age of 8, Grover Sr. gave Jr. a saxophone. He practiced and would sneak into clubs to see famous Buffalo blues musicians.

Early career

Washington left Buffalo and played with a Midwest group called the Four Clefs. He was drafted into the U.S. Army shortly thereafter, which was to be to his advantage, as he met drummer Billy Cobham. A music mainstay in New York City, Cobham introduced Washington to many New York musicians. After leaving the Army, Washington freelanced his talents around New York City, eventually landing in Philadelphia in 1967. In 1970 and 1971, he appeared on Leon Spencer's first two albums on Prestige Records, together with Idris Muhammad and Melvin Sparks.

Washington's big break came at the expense of another artist. Alto sax man Hank Crawford was unable to make a recording date with Creed Taylor's Kudu Records, and Washington took his place, even though he was a backup. This led to his first solo album, ''Inner City Blues''. He was talented and displayed heart and soul with soprano, alto, tenor, and baritone saxophones. Refreshing for his time, he made headway into the jazz mainstream.

Fame

Whilst his first three albums established him as a force in jazz and soul music, it was his fourth album in 1974, ''Mister Magic'', that proved a major commercial success. The album climbed to number 10 in Billboard's Top 40 album chart and the title track reached #16 on the R&B; singles chart (#54, pop). All these albums included guitarist Eric Gale as a near-permanent member in Washington's arsenal. His follow-up on Kudu in 1975, ''Feels So Good'' also made #10 on the album chart.

A string of acclaimed records brought Washington through the 1970s, culminating in the signature piece for everything he would do from then on. ''Winelight'' (1980) was the album that defined everything Washington was then about, having signed for Elektra Records, part of the major Warner Music group. The album was smooth, fused with R&B; and easy listening feel. Washington's love of basketball, especially the Philadelphia 76ers, led him to dedicate the second track, "Let It Flow", to Julius Erving (Dr. J). The highlight of the album was his collaboration with soul artist Bill Withers, "Just The Two of Us," a huge hit on radio during the spring and summer of '81, peaking at #2 on the Hot 100. The album went platinum in 1981, and also won Grammy Awards in 1982 for Best R&B; Song ("Just The Two of Us"), and Best Jazz Fusion Performance ("Winelight"). "Winelight" was also nominated for Record of the Year and Song of the Year.

In the post-''Winelight'' era, Washington is credited for giving rise to a new batch of talent that would make its mark in the late 1980s and early 1990s. He is known for bringing Kenny G to the forefront as well as such smooth jazz artists as Walter Beasley, Steve Cole, Pamela Williams, Najee, and George Howard. His song ''Mr. Magic'' is noted as being influential on Go-go music starting in the mid-1970s.

Death

On December 17, 1999, while waiting in the green room after taping four songs for ''The Saturday Early Show'', at CBS Studios in New York City, Washington collapsed. He was taken to St. Luke's-Roosevelt Hospital, where he was pronounced dead at about 7:30 p.m. He was 56 years old. His doctors determined that he had suffered a massive heart attack.

Tributes

A large mural of Washington, part of the Philadelphia Mural Arts Program, is just south of the intersection of Broad and Diamond Streets.

Discography

As leader

1971: ''Inner City Blues'' (Kudu Records)

1972: ''All the King's Horses'' (Kudu)

1973: ''Soul Box'' (Kudu)

1974: ''Mister Magic'' (Kudu)

1975: ''Feels So Good'' (Kudu)

1976: ''A Secret Place'' (Kudu)

1977: ''Live At The Bijou'' (Kudu)

1978: ''Reed Seed'' (Motown)

1979: ''Paradise'' (Elektra Records)

1980: ''Skylarkin'" (Motown)

1980: ''Winelight'' (Elektra)

1981: ''Come Morning'' (Elektra)

1981: ''Baddest'' (Motown)

1982: ''The Best Is Yet To Come'' (Elektra)

1984: ''Inside Moves'' (Elektra)

1986: ''House Full Of Love (Music from ''The Cosby Show'')'' (Columbia Records)

1987: ''Strawberry Moon'' (Columbia)

1988: ''Then and Now'' (Columbia)

1989: ''Time Out of Mind'' (Columbia)

1992: ''Next Exit'' (Columbia)

1994: ''All My Tomorrows'' (Columbia)

1996: ''Soulful Strut'' (Columbia)

1997: ''Breath of Heaven: A Holiday Collection'' (Columbia)

2000: ''Aria'' (Columbia)

2001: ''Discovery - The First Recordings'' (Prestige)

2010: ''Grover Live'' (G-Man Productions, Inc.)

As sideman

With Leon Spencer

1970: ''Sneak Preview'' (Prestige Records)

1971: ''Louisiana Slim'' (Prestige)

With Dexter Gordon

1982: ''American Classic'' (Elektra)

With Kenny Burrell

1985: ''Togethering'' (Blue Note)

With Mal Waldron

1990: ''My Dear Family'' (Evidence)

With Gerry Mulligan

1995: ''Dragonfly'' (Telarc)

With Kathleen Battle

1995: ''So Many Stars'' (Sony)

References

External links

Official website

Grover Washington, Jr. at Legacy Recordings

Grover Washington TV Interview from C Music TV

Jazz Conversations with Eric Jackson: Grover Washington Jr. from WGBH Radio Boston

Grover Washington Jr. At Find A Grave

Category:1943 births Category:1999 deaths Category:American jazz soprano saxophonists Category:American jazz alto saxophonists Category:American jazz tenor saxophonists Category:American jazz composers Category:Soul-jazz saxophonists Category:Deaths from myocardial infarction Category:People from Buffalo, New York Category:Smooth jazz saxophonists Category:Grammy Award winners Category:Musicians from Philadelphia, Pennsylvania Category:Motown artists Category:Columbia Records artists Category:Elektra Records artists

cs:Grover Washington, Jr. da:Grover Washington Jr. de:Grover Washington, Jr. es:Grover Washington, Jr. fr:Grover Washington, Jr. it:Grover Washington Jr. nl:Grover Washington jr. ja:グローヴァー・ワシントン・ジュニア no:Grover Washington pl:Grover Washington Jr pt:Grover Washington, Jr. sv:Grover Washington, Jr.

name	Robert Glasper
background	non_vocal_instrumentalist
birth date	April 05, 1978
instrument	Piano
origin	Houston, Texas, United States
genre	Jazz, Hip-Hop, Soul
occupation	Musician, Producer
years active	2003 - present
label	Blue Note Records
associated acts	Bilal, Mos Def, Q-Tip, RCDCJ Dilla, Erykah Badu, Common Talib Kweli, MaxwellMeshell Ndegeocello
notable instruments	}}

Robert Glasper (born April 5, 1978) in Houston, Texas is an American jazz pianist and record producer.

Career

Glasper’s earliest musical influence was his mother, Kim Yvette Glasper, who sang jazz and blues professionally. She would bring him with her to club dates rather than leave her son with babysitters. She also performed in church where the young Glasper began playing piano, and performed during services at three separate churches: Baptist, Catholic and Seventh-day Adventist. Glasper has said that he first developed his sound in church, where he learned his own way to hear harmony, and was inspired to mix church and gospel harmonies with jazz harmonies.

Glasper attended Elkins High School in Houston, TX and the High School for the Performing and Visual Arts and went on to attend the New School for Jazz and Contemporary Music in New York City. At the New School, Glasper met neo-soul singer Bilal Oliver. They began performing and recording together, which led to associations with a variety of hip-hop and R&B; artists parallel to Glasper’s emerging jazz career. He has worked with Bilal and Mos Def as musical director, Q-Tip (''The Renaissance''), Kanye West (''Late Registration''), Meshell Ndegeocello (''The World Has Made Me the Man of My Dreams''), J Dilla, Erykah Badu, Jay-Z, Talib Kweli, Common, Slum Village and Maxwell, with whom he toured extensively on 2009’s BLACKsummers'night tour.

Glasper’s first album, ''Mood'', was released by Fresh Sound New Talent in 2004, after the pianist’s stints playing in bands with guitarists Russell Malone and Mark Whitfield, bassist Christian McBride, and trumpeters Terence Blanchard (Bounce) and Roy Hargrove. The album features six original compositions by Glasper alongside versions of “Blue Skies,” “Alone Together,” and Herbie Hancock’s “Maiden Voyage,” featuring guest vocalist Bilal. Glasper has said that his arrangement of the Hancock tune was inspired by the Radiohead song “Everything in Its Right Place.”

Blue Note Records released ''Canvas'', Glasper’s major-label debut, in 2005. The album features nine original songs and a version of Hancock’s “Riot.” Glasper plays the Fender Rhodes on three tracks, and Bilal sings on two. ''In My Element'', released in 2006, includes songs written in honor of Glasper’s mother (“Tribute”) and hip-hop producer J Dilla (“J Dillalude”). The pianist also revisits Hancock’s “Maiden Voyage,” which segues into a version of “Everything in Its Right Place,” and quotes Duke Ellington’s “Fleurette Africaine.”

Glasper's latest release is the 2009 album ''Double-Booked''. It is divided between songs performed by Glasper in an acoustic piano trio and funk-influenced tracks played on electric instruments, such as the Fender Rhodes electric piano and the vocoder (used on a version of Herbie Hancock’s “Butterfly”). The album features voice mail recordings from Blanchard and Roots drummer Questlove, and guest vocals and spoken word appearances by Bilal and Mos Def. Bilal received a 2010 Grammy Award nomination for Best Urban/Alternative Performance for the track “All Matter.”

Glasper has performed at jazz festivals throughout the world, and his trio performed at the 2007 Bonnaroo Music Festival as part of Blue Note's "Somethin' Else" jazz tent. In addition to his working trio (Chris Dave, drums; Vicente Archer, bass), he also leads the RCDC Experiment (Derrick Hodge, Chris Dave, and Casey Benjamin), in which he explores fusions of jazz and hip hop. Robert Glasper is currently represented by Addeo Music International (AMI).

Musical Style

Glasper's music can be described as "experiments with space, rhythm and chord textures", creating a vast array of sound. He has said that he tries to make the music flow in a way more like a hip-hop beat, trying to always leave the music open for someone to rap over.

Discography

''Mood'' (2003)

''Canvas'' (2005)

''In My Element'' (2007)

''Double-Booked'' (2009)

References

Robert Glasper: The pianist whose jazz is filled with soul, Telegraph

In Conversaton with Robert Glasper, Jazz.com

Charlie Parker Jazz Festival: Cool Jazz in Harlem, New York The Sun

Review of Canvas, The Guardian

Robert Glasper, Jazz Times

In My Element by Robert Glasper, New York Magazine

Review of Robert Glasper's Canvas, allaboutjazzcom

External links

Official home page

Artist's page at Blue Note Records

Robert Glasper Facebook fan page

Robert Glasper performs at NPR Music

Obnoxious Listeners: Robert Glasper Trio

Progressing Under the Radar with Precision and Daring, New York Times

Category:Living people Category:American jazz pianists Category:Musicians from Houston, Texas Category:1978 births

de:Robert Glasper fr:Robert Glasper

name	DJ Logic
background	non_vocal_instrumentalist
birth name	Jason Kibler
born	Bronx, New York, U.S.
instrument	Turntables
genre	Hip-hop, jazz, jam band
occupation	DJ, turntablist
years active	1990–present
label	Ropeadope, Relix
associated acts	Project Logic, Eye and I, Yohimbe Brothers, The John Popper Project
website	DJLogic.com }}

DJ Logic (born Jason Kibler) is a turntablist active primarily in jazz and with jam bands.

Kibler was raised in The Bronx. An early interest in hip hop led to his using the turntables, practicing often. Kibler was also interested in funk and jazz music, and began collaborating with various musicians. His own recordings are perhaps best described as contemporary soul jazz with a strong hip hop feel.

Kibler tours often with his own group, Project Logic, and has recorded or performed with Vernon Reid, moe., John Mayer, Medeski Martin & Wood, Bob Belden, Jack Johnson, Chris Whitley, Uri Caine, Christian McBride and others. On April 6, 2006, Kibler sat in with Bob Weir's Ratdog, adding his style to the famous Grateful Dead song combo "China Cat Sunflower/I Know You Rider". He is a founding member of The John Popper Project. On August 15, 2009, Kibler sat in with O.A.R. at Madison Square Garden, adding his style to their latest single "This Town".

His mentor of sorts was Vernon Reid, of which the two record and tour occasionally as the Yohimbe Brothers with various guests. Kibler has appeared on studio and live performances with Reid's solo projects, and Reid also did a guest solo on one track from Kibler's original band, Eye and I, which also featured D.K. Dyson and Melvin Gibbs, the latter of which has played on all of the DJ Logic solo releases as well.

Discography

''Project Logic'' (Ropeadope Records, 1999)

''The Anomaly'' (Ropeadope, 2001)

''For No One In Particular'' (2003)

''Zen of Logic'' (Ropeadope, 2006)

''The John Popper Project Featuring DJ Logic'' (Relix, 2006)

External links

Official site

Biography

An interview with DJ Logic

DJ Logic collection at the Internet Archive's live music archive

For No One In Particular on Amulet

Video interview with DJ Logic at allaboutjazz.com

Category:American DJs Category:Living people Category:Year of birth missing (living people) Category:People from the Bronx Category:Ropeadope Records artists

de:DJ Logic

name	Marcus Strickland
background	non_vocal_instrumentalist
born	February 24, 1979Gainesville, FloridaUnited States
instrument	Tenor Saxophone, Soprano Saxophone, Alto Saxophone
genre	Jazz
occupation	Musician, songwriter, record producer, CEO, Strick Muzik
years active	1997 - present
label	Strick Muzik, Criss Cross, Fresh Sound
associated acts	Jeff "Tain" Watts, Dave Douglas, Ben Williams, E.J. Strickland, Ben Wolfe, Roy Haynes,
website	www.MarcusStrickland.com www.StrickMuzik.com Marcus on Facebook Marcus on Twitter Marcus on Myspace }}

Biographical Information

Marcus Strickland (born 1979 in Gainesville, FL) is a jazz soprano, alto and tenor saxophonist from Miami, Florida who currently lives in New York. Marcus was named 'Rising Star on Tenor Saxophone' in Downbeat Magazine's Critic's Poll '10, 'Rising Star on Soprano Saxophone' in Downbeat Magazine's Critic's Poll '08 and 'Best New Artist' in JazzTimes Magazine's Reader's Poll '06, he placed third in the 2002 Thelonious Monk International Jazz Saxophone Competition. The saxophonist also has six releases as a leader: "Idiosyncrasies ('09), Open Reel Deck ('07), & Twi-Life ('06)" on his own music label Strick Muzik (launched in 2006).; "Of Song" ('09) on Criss Cross Records; "Brotherhood ('02) & At Last('01)" on Fresh Sound Records.

The saxophonist has been on two Grammy-nominated recordings ("Fountain of Youth" - Roy Haynes & "Keystone" - Dave Douglas). In addition to his own trio and quartet, Strickland currently plays with Dave Douglas, Jeff 'Tain' Watts. He also had a five-year stint with legendary drummer Roy Haynes.

He considers his father an early inspiration as he had been a drummer in jazz and rhythm and blues, but at present he works as a lawyer. Marcus's identical twin brother E.J. Strickland became a drummer, like their father, and is currently a member of Marcus's quartet and Ravi Coltrane's quartet.

Album Biography

The great Miles Davis once said, ''"The thing to judge in any jazz artist is, does the man project and does he have ideas?"'' If these are indeed the canonical essentials of a jazz artist at his best, then saxophonist Marcus Strickland is one of today's truest exemplars. Triumph of the Heavy: Volume 1 & 2 is Strickland's fourth release from his independent Strick Muzik record label, and his seventh as a leader. The music lives up to its title, and Strickland's distinctive artistry is synonymous with its concept. With a professional career that has just passed the ten-year mark, Strickland's influential sound, distinguished body of work, impressive set of credentials and steady acknowledgement from every credible jazz critic since emerging on the scene has earned him a rightful place alongside the very best narrators of modern jazz.

Triumph of the Heavy: Volume 1 & 2 is an excellent summation of not only invention, commanding execution and highly conceptualized music, but of a brotherhood which is translated on the bandstand and transmitted to the audience. Volume 1 features Strickland's quartet of bassist Ben Williams and drummer E.J. Strickland, as well as the more recent addition of newcomer pianist David Bryant. Volume 2 captures Strickland's seasoned trio of Williams and E.J. live at Firehouse 12; a venue which is both a recording studio and performance space, in New Haven, Connecticut. Strickland shows masterful versatility with an unconventional set of original tunes; all but one per disc penned by the gifted composer. This time around, Strickland is less interested in impressing his listeners per se, although he succeeds brilliantly at just that. Intensely, he's focused on engaging both is loyal and new listeners in a personable way, ''"I just want them to enjoy themselves,"'' says Strickland of his audience. ''"I don't want them to walk away with their brains hurting. I don't want them walking away with a calculator trying to figure out what happened. I want them to walk away thinking, wow that was a great hang."''

Opening track "Lilt" is easily a celebratory theme for that mission victoriously accomplished. Triumph of the Heavy: Volume 1 & 2 is a jubilant and rejoiceful outing, intriguingly defying the stigma of intimidation by which jazz music is so often haunted. Strickland's delicate balance of intricacy and familiarity, and tradition without borders or restrictions, offers assimilation to both aficionados and the less acquainted.

Strickland's desire to preach above and beyond the jazz choir is rooted in his affinity toward a multitude of musical styles. Growing up in a household which encouraged the arts, Strickland's musical palette had been vast long before his professional endeavors. This broad creative range, along with his emergence as a singular voice on his instrument, helped Strickland land his first recording deal as a leader with the Fresh Sound label, soon after the Miami native graduated from New York's esteemed New School for Jazz and Contemporary Music; a breeding ground for many who would become today's most relevant figures in jazz.

Strickland recorded At Last and Brotherhood for Fresh Sound, recruiting fellow New School alumni; pianist Robert Glasper, bassist Brandon Owens, and E.J. Strickland, with whom Strickland had previously established a co-led style group. In between launching a career as a recording artist, Strickland was also making his case as one of the finest saxophonists in the world, placing third in the 2002 Thelonious Monk International Jazz Saxophone Competition; one of the most well-respected barometers for the very best emerging talents in jazz.

Strickland's entrepreneurial spirit as well as shifts in the music industry made for the perfect opportunity to explore the business side of music. Strickland started his own record company and released his first album, Twi-Life, for his Strick Muzik label in 2006. The bold double-disc showcased Strickland's acoustic quartet which included Glasper, bassist Vicente Archer, and E.J. Strickland, and introduced his electric band which included guitarist Lage Lund and bassist Brad Jones. Also, it is here that we get a glimpse of Strickland's strong predilection for the trio setting.

Strickland had been soothing his inner urge to play trio a year before, playing often with Vicente Archer and drummer Damion Reid at a local jazz dive in Brooklyn. But a twist of fate caused its documentation and helped provoke its fruition. ''"I remember, we got to the studio [to record Twi-Life] and Robert was late. So, we were like, ah... we should record a trio tune just to see if we have the right sound levels, and we recorded [Wayne Shorter's] Oriental Folk Song and it ended up on the record."''

Strickland's passion for trio is birthed out of his love for drums, as he readily confesses that he'd be a drummer if he wasn't a saxophonist. "Marcus grew up in a house of drummers, and it shows," says his twin brother and dynamic drummer and composer E.J, who practiced duo with Marcus profusely. ''"Rhythmically, he is a drummer on the saxophone. Being that he understands the language of the drums, we can go anywhere we want to."''

Strickland has a covetable list of recording and performing credits, having collaborated with Wynton Marsalis, Tom Harrell, and Dave Douglas, but Strickland's longest and most impressionable working relationships include two of the most influential drummers ever to play the instrument: Roy Haynes and Jeff "Tain" Watts. Strickland was still attending college when jazz master Roy Haynes asked him to join his Fountain of Youth band. Strickland held the tenor spot for five years before joining Watts; a drummer who is without question at least in-part responsible for ushering in this generation of successors.

After Strickland's subsequent and well-received Open Reel Deck release (an ode to the open reel deck stereo system and the soulful music he heard coming from the one his parents owned), he addressed his fondness of the trio full on, establishing a close-knit ensemble which included both Stricklands and bassist Ben Williams; a superb young talent whose lyricism, grit, and incredible vocabulary have garnered overwhelming acclamation.

"The first time I heard Ben, it was on a gig with trumpeter Kenyatta Beasley, who I went to school with," recalls Strickland. ''"I remember the gig really felt great. It wasn't because of an incredible solo or a particular tune. It wasn't anything in particular, but I remember several times looking back at my brother and when I would look back at him, he would look at Ben and look back at me as if to signal, 'Yeah, this dude can play!' And so I definitely kept him in my mind. And by the time I was ready to do an acoustic record again, that's the first person who I thought of."''

The new trio began to gel, playing a variety of shows including a series of performances at Greenwich Village's Jazz Gallery. Just as Strickland was gearing up for his trio to record Idiosyncrasies (the third album for his label in 2009), he was approached to record an album for the Criss Cross label. Perhaps another "as fate would have it" moment, as Strickland discovered musical synergy with the remarkable Brooklyn-bred pianist David Bryant.

''"When I got the call from Gerry Teekens at Criss Cross, I was in Guimarães, Portugal with a quintet that I assembled for a two-week residency there, and David Bryant was on piano. I really dug how David was interacting with my music in Guimarães. The first thing that popped in my mind was to do a ballads record. I already had that on my list of recording ideas. I decided to add David to the trio for the record. He's an extremely incredible musician; he's got the sensitivity that I'm looking for."''

Strickland recorded Of Song for Criss Cross and Idiosyncrasies within three weeks of each other. The former is a sublime quartet album that shows a scaling back of Strickland's prolific writing for the first time in his recording career, presenting interpretations of a varied set of cover tunes, ranging from Bob Marley to James Brown to Jacques Brel.

Described as "honest and stubborn" by The New York Times, the highly regarded Idiosyncrasies put Strickland's trio on the map, displaying an imaginative mixture of covers and originals. ''"I was really into trying to play repertoire that was relevant to my life,"'' explains Strickland. ''"Stuff that's nostalgic to me, not people who could be my father."'' His decisions about the material covered on Idiosyncrasies were also based on the interworking of the trio format, in what Strickland describes as a "strong triangle". Strickland elaborates further, ''"The tunes had to have enough character rhythmically, so that it would work for trio, because the strength in the trio is rhythm... it is of any music, but I think in trio format it just becomes even more of the central thing that I'm looking for; a strong sound."''

Now officially leading two bands, Strickland's demonstration of their distinction as well as their interweaving tells a well-laid story on Triumph of the Heavy: Volume 1 & 2. Strickland also introduces a new set of skills, playing alto saxophone on half of Volume 1. Although alto was his first instrument as a child, once in high school, Strickland dropped the smaller woodwind for the tenor. But it was Kenny Garrett's seminal Triology album which would snatch Strickland's attention toward the alto yet again, and the yearning to reacquaint himself with the instrument persisted for years. ''"It was the first thing that I said when I got the endorsement with P. Mauriat... I want an alto,"'' recalls Strickland. ''"They said, 'Really? Are you just doing this?' I said 'Give me an alto, I'll play that.' They gave me an alto, and I did. So, I have all three of them now. I just want to develop with all of them. It's not to replace anything; I just want those to be three voices to work with. I like those ranges."''

Strickland's alto sounds more like a warm low soprano on parts of "A Temptress' Gait", a number which grooves so hard despite its odd time signature; moving in and out of hard-swinging sections. ''"On soprano, the natural tendency is to sound like a squeaking duck,"'' Strickland describes. "After fighting that all these years, and finding how to get a warm sound on soprano, when I got the alto it was even easier to get a warm sound and I owned that. It doesn't sound like most alto players, and I think that's a good thing. I wanted that to be my alto sound."

With one of the most delectable soprano sounds since Branford Marsalis, Strickland offers this range to Volume 1's Dawn. A pensive and romantic ballad, this song is highlighted by a gorgeous vamp dialogued between Strickland and Bryant which fades into what feels like a new beginning, rather than an ending.

Triumph of the Heavy: Volume 1 & 2 is uniquely conversational. Strickland credits this dynamic to the trio and the subsequent new approach to writing for quartet which ensued. ''"The role of the piano is less accompaniment and more interplay, more intricacies in the part, more specific, rhythmically. So yeah, that's basically the new thing I'm going for when writing for harmonic instruments."''

Volume 2 captures the spontaneity and fusion of his buzzed-about trio, as they were wrapping up a lengthy tour. "We were very familiar with each other and I had a whole new repertoire of music that wasn't on Idiosyncrasies, and I knew I wanted to record again but I didn't want to do another studio recording with trio. So I saw that we had this Firehouse 12 gig coming up, so I thought that would be the perfect situation."

As a bandleader, Strickland unsurprisingly takes cues from yet another drummer. ''"There's a quote from Art Blakey that just says, 'Leave the band alone,''' Strickland emphasizes, through an abundance of hearty laughter. ''"He's referring to his leading style. You know, don't tell them how to play! And it's very important. I want everybody to feel good. I want the band especially to feel good so the music can feel good, and the audience can feel good. I want there to be room for a party. So I write like that, I lead like that."''

His band concurs. Williams, who is one of Concord Jazz's most recent signings, finds Strickland's band leading style particularly exemplary. ''"I've learned a lot from Marcus about leading a band,"'' says Williams. ''"The trust that Marcus has in his band is what I also feel is important when leading my band. He chooses guys that are not only great musicians individually, but that play well together. Like Marcus, I always keep in mind the strengths of the musicians and really try my best to capitalize on them. I also try to make my musical vision clear to my band mates so they know the general direction I'm going in. Playing with him has done wonders for my growth as a musician."'' E.J. underscores, ''"Marcus isn't a musician who wants everyone to listen to him. Rather, he is a musician who wants us all to listen to each other."''

Strickland's critics are listening, too. Over the last five years, Strickland has held some of the most prestigious positions in the realm of jazz journalism: Rising Star on Tenor Saxophone in Downbeat's 2010 Critic's Poll, Rising Star on Soprano Saxophone in Downbeat's 2008 Critic's Poll and Best New Artist in JazzTimes' 2006 Reader's Poll. For Strickland, the blueprint for triumph is based on one main principle, ''"As long as you're honest, I think nobody can mess with that. I think that's essential to being an artist... to be yourself. Really expose what's inside of you, try to put that out there in a very creative and beautiful way that people can enjoy. My whole goal is to make enjoyable music with great depth, and touch as many people as I can with it. That's all I want to do."''

Select discography

As leader

''At Last'' (Fresh Sound, 2001)

''Brotherhood'' (Fresh Sound, 2003)

''Twi-Life'' (Strick Muzik, 2005)

''Open Reel Deck'' (Strick Muzik, 2007)

''Of Song'' (Criss Cross, 2009)

''Idiosyncrasies'' (Strick Muzik, 2009)

''Triumph of the Heavy, Vol. 1 & 2'' (Strick Muzik, to-be-released on September 27th, 2011)

As sideman

''With E.J. Strickland''

''In This Day'' (Strick Muzik, 2009)

''With Ben Williams''

''State of Art'' (Concord, 2011)

''With Mike Moreno''

''Between the Lines'' (World Culture Music, 2007)

''With Roy Haynes''

''Fountain of Youth'' (Dreyfus, 2004)

''With Jeff "Tain" Watts''

''Detained'' (Half Note, 2004)

''Folk's Songs'' (Dark Key Music, 2007)

''With Dave Douglas Keystone''

''Keystone'' (Greenleaf Music, 2005)

''Keystone: Live in Seden'' (Greenleaf Music, 2006)

''Moonshine'' (Greenleaf Music, 2007)

''Keystone: Live at the Jazz Standard'' (Greenleaf Music, 2008)

''Spark of Being'' (Greenleaf Music, 2010)

''With Lonnie Plaxico''

''Melange'' (Blue Note, 2001)

''Lonnie Plaxico Live at the 5:01 Jazz Bar'' (Orchard, 2002)

''Live at the Zinc Bar'' (Plaxmusic, 2007)

External links

Marcus Strickland's website

Strick Muzik

Marcus on Facebook

Marcus on Twitter

Marcus on Myspace

Interview from Alternate Takes, by Angelika Beener

Interview from Jazz Review

Review of Twi-Life at JazzChicago.net

"In Conversation with Marcus Strickland" by Jared Pauley (Jazz.com)

Category:1979 births Category:Living people Category:Jazz saxophonists Category:People from Miami, Florida

de:Marcus Strickland fr:Marcus Strickland