New Orleans Jazz: Gumbo Sax with the Broken Reed Saxophone Quartet
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Pulitzer-winning trumpeter and Jazz at Lincoln Center artistic director Wynton Marsalis has called Marcus Roberts "the genius of the modern piano," and there's no question that he's one of the greatest jazz pianists and composers working today. Since his Jazz at Lincoln Center debut in 1987, Roberts' deeply significant recorded and commissioned works have honored some of his most revered predecessors of the piano. Roberts has a long history of treasuring the tenets of jazz through his work, which, for the last quarter century, has epitomized preservation through innovation. Joining him for this musical exploration of the Piano Masters of Melody is his new ensemble The Modern Jazz Generation, a large ensemble that features nearly a dozen top musicians spanning three generations, including bassists Thaddeus Expose and Raviv Markovitz, drummer Jason Marsalis and sax man Ricardo Pascale. Learn More
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Listen to song samples of the Broken Reed Saxophone Quartet.
The Broken Reed Saxophone Quartet is Charley Gerard, Jenny Hill, Lisa Parrott, Tom Olin and Chris Bacas. Note: it takes 5 saxophonists to make a sax quartet.
Charley Gerard started the The Broken Reed Saxophone Quartet in 2002. A composer, saxophonist and music author with a degree in ethnomusicology from Columbia, Charley Gerard lives jazz. He is the author of several books on Latin music and jazz, including Salsa: Rhythm of Latin Music (White Cliffs Media, 1998); Jazz in Black and White (Praeger, 2001), which Booklist describes as an “excellent study” that highlights “the complex role of race in jazz,” and Kirkus calls a “refreshing change from recent polemics” “with an admirable evenhandedness” providing “an intelligent discussion of a loaded issue” “with integrity and thoughtfulness”; and Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Other Stateside Cuban Musicians (Praeger, 2001) that Choice Magazine deems “a useful addition to a growing list of books devoted to Latin music emanating from Cuba and Puerto Rico….the book will be a great resource for enthusiasts.”
Gerard possesses a rare collection of talents not often seen together. Versatile and virtuosic in his playing and composition, Gerard has a way of coaxing the beautiful from the unexpected. With his diverse influences—from jazz and swing to Latin and classical—and his liberal tapping of the imagination, his arrangements are thoughtful and exuberant and his performances are as formally impeccable as they are playful. They say great texts play with one another and the same holds true for music; the humor in some of his more serious pieces highlights their earnestness and this lively weight renders them achingly alive.
You have only to hear his Four Seasons, Four Saxes, New Four-Casts, re-creation of the Vivaldi classic to know that you are in the presence of a musical master. He has been lauded by the Washington Post for his “humor and crossover composing skill,” “chops and range” and the “ingratiating,” “lived-in feeling” of his music" and by hurdaudio.blogspot.com for his “muted, yet powerful tone and special attention toward phrasing and accent structure.” Dance Magazine dubbed his music “brilliant” and jons-show-log.blogspot.com has described his arrangements as “superb.”
Gerard fuses fun listening with dissonant sound. He is even good at the elusive, imprecise science of improvisation, while maintaining a strong sense of control when playing his arrangements. His headier music often functions as a mosaic—artistically assembled bits of sound strung together by his expert composing and perceptive performances from the BRSQ group members. Together, they transport their audience everywhere, from New Orleans jazz clubs and the swinging sixties, to the Baroque period and the pages of poetry and popular culture.
The Broken Reed Saxophone Quartet (BRSQ) is comprised of five players that rotate in the quartet: Chris Bacas, Jenny Hill, Lisa Parrott, and Tom Olin, in addition to Gerard. As its name implies, the group is as linked by its sense of humor as it is by its unique sound. BRSQ has been described by Dr. Sherrie Maricle, the Leader of the Diva Jazz Orchestra and the Director of Education for the New York Pops Orchestra, as “one of the most unique, innovative music ensembles I´ve heard in recent years. Their arrangements are both original and exciting, encompassing all of the relevant emotions of music, from the subtle to the explosive.”