Search - Miami Saxophone Quartet, Gary Keller, Ed Calle :: Take Four Giant Steps

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. Knowing the musicians and composers, I can appreciate where this 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