Songs for a Zesty Zoo Day

Photo by Daniel Dvorský on Unsplash

Usually the zoo is so hot and crowded, it can be a bit unbearable, but with this cold snap in the air, I’m feeling pretty zesty, energetic and motivated! I bet the animals are feeling it too, which makes it a perfect time to go and appreciate the diverse and incredible creatures around us. This playlist is for all those who are feeling that extra pep in their step and want to keep the energy levels high as you drive to the zoo. It’s filled with cool, swinging jazz to match the playful energy of the penguins, the chill vibe of the sloths, and the majestic rhythm of the lions. So put on your walking shoes, grab your binoculars, and get ready to add a little extra zest to your zoo adventure.

Lonnie Plaxico, Camille Thurman & others – Sideshow

From the brand new album, Radiance, this peaceful song will get you ready for all the sights and shows you’ll see in the animal kingdom. Keep your eyes peeled while you’re at the zoo because while everyone is watching the lion yawn, there may also be a hummingbird hiding in the flowers! Be mindful and present to catch a glimpse of the little sideshows of life.

Harry Allen Trio – Runnin’ Wild

At the zoo it’s hard to tell sometimes who is running the most wild–is it the peacocks, monkeys or the little children spectators eager to see every fantastical creature? This tune, from Night is Alive’s album It Takes 3 will make you want to run wild, like a cheetah. But make sure to watch your step as you explore the many wonders of the zoo, and let the children go first and get the best view at the front, by the glass!

Bill Cunliffe, Tim Horner & Martin Wind – Little Bird

This whimsical, light-hearted song, from Night is Alive’s album Border Widow’s Lament, will have you flitting around the zoo like a little bird! But did you know that modern birds are the direct descendents of dinosaurs? Yes, it’s true! So while you observe the cuteness of those cranes, eagles and flamingoes, be sure to also pay attention to their claws, wingspan and stance. Once you see the dinosaurs in those little birds, they may not seem so little anymore . . .

John Di Martino & others – Imagination

While strolling at the zoo why not let your imagination run wild? You could imagine that the snake is whispering to you, like in Harry Potter; or that the hyenas are laughing at the man who just dropped his ice cream cone! Or maybe the tortoise is a wise old professor and the croaking frog is his student? Who knows! The sky is the limit, and this lovely song, from Night is Alive’s album Call Me Irresponsible will indulge your greatest whimsies.

Bill Cunliffe, Tim Horner & Martin Wind – Standing By the Window Waving Goodbye

Alas, like all good things, your zoo adventure must come to an end. I bet you feel like a little kid being pulled away by his parents from all the fun and excitement. Maybe you’re even standing by the window of your favorite animal waving goodbye? Let this song, from Night is Alive’s album Border Widow’s Lament wash over you while you make your final rounds to all your furry and scaled friends.

Check out this music and more on Night is Alive’s albums page!

written by Jacqueline Knirnschild

Photo by Daniel Dvorský on Unsplash

Enchanting Jazz for a Renaissance Festival

Have you ever been to a Ren Faire? With costumes like peasant skirts, breeches, elf ears and battle swords; the sumptuous fare of turkey legs and mead; and the many exciting activities, like jousting and fortune-telling, the Ren Faire really is an imaginative playscape for adults! Of course at the Ren Faire, folk music is also usually performed, but what if you’re more of a jazz fan? What if you want something a little more snazzy to listen to while you get dressed and drive to the Ren Faire? Don’t worry, Night is Alive has got you covered with a playlist of enchanting jazz great for a Renaissance Festival!

Bill Cunliffe, Tim Horner & Martin Wind – Border Widow’s Lament

Tim Horner’s haunting bass in the titular song of Night is Alive’s album will hypnotize you just like a wise woman’s palm reading at the Ren Faire. Is that your life line? It’s looking very long, which is a good sign, but then it is intersected at the end there by another line . . . What could it mean? Does it mean the border widow has a lament with you?

Lonnie Plaxico, Douglas Plaxico, Camille Thurman & Lafayette Harris Jr. – Mona Lisa

Oh, Mona Lisa–the famous enigmatic woman in the Da Vinci painting from the flourishing Italian Renaissance. Is she smirking or is it an optical illusion? What is she hiding behind that expression? This song, from the new album Radiance, captures the captivating mystery of Mona Lisa. The winding piano touches on every note of the famous artwork and the secrets she’s hiding.

Lorca Hart Trio – Discoveries

This song, from Night is Alive’s beloved Colors of Jazz album, portrays the beauty of learning and discovery. From the archery contest to the fire-breather, from the knife-thrower to the witch’s cauldron, there are ample discoveries to be made at the Ren Faire! Let your spirits and imaginations run wild while you wander around. Strike up a conversation with the performers and historical reenactors to discover something new.

WJ3 All-Stars – I’ve Never Been in Love Before

With fairy and elf magic in the air, the Renaissance Festival may just be one of the most romantic places to fall in love. Maybe you’re single and haven’t always been lucky in love, but I encourage you to wear your heart on your chemise sleeve on this beautiful, fair day! Listen to this smooth jazz song, from Night is Alive’s album Lover and Love Songs, to lift your spirits and open yourself to new possibilities!

Bill Cunliffe, Tim Horner & Martin Wind – Slangelang

All the herbs and spices, meads and beers, sunshine and smoke of the Renaissance Fair may make you feel like you’ve entered a whole new world. When it’s all said and done, these memories will drift away into dreams, just like this song, from Night is Alive’s album Border Widow’s Lament.

Check out this music and more on Night is Alive’s albums page!

written by Jacqueline Knirnschild

Photo by Matt Benson on Unsplash

Q&A with David Basse from Kansas City Radio – Part 2

Welcome to part two of Night is Alive’s interview with the legendary David Basse!

NiA: How did you get into singing?

DB: I graduated from high school when I was 17 and two weeks later, a band came through town and they happened to need a drummer and they were going on to Colorado and other places. So, I joined the band and left, and as we were driving away, the bandleader asked if I could sing and I said no. The band leader said, well that’s too bad because I would give you more money if you sang. He suggested I sing without a microphone and see if I could find a part to sing harmony and just get comfortable singing from the drums. So, I’m more comfortable singing from the drums than without the drums. I guess I’m equally comfortable now, after many, many years.

NiA: When did you decide to become a bandleader?

DB: I decided to be a bandleader in 1980. So I stopped playing what somebody else wanted to play and I started playing the music I loved, which was a mixture of jazz and blues–the music of Kansas City is what really drew me in. In the first two years I was on the road I went to all the places I wanted to go and I hadn’t found one that stuck–I went to Nashville, New Orleans, LA, New York–and I didn’t know about Kansas City. Then somebody in Iowa said, “you know, you ought to go to Kansas City, here’s the number of an agent.” And when I came here, I found that you can make a living on music in Kansas City and there are a lot of people doing it and it’s not that difficult. So, I was playing as many as nine gigs a week, playing seven nights and taking a couple of matinees and going to jam sessions and it was just great.

NiA: Wow, that’s incredible–it sounds like you really found where you belong, found your home.

DB: Yeah, I think I did. You know, about ten years ago I was talking to John Clayton–the bassist with Diana Krall and the Hollywood Bowl, a prominent musician–and I was having dinner with him, and I told him I was so impressed by his career and all the things he’s done, and he said, “you know, you have a place too–you’re our guy in Kansas City, so don’t be too impressed with me, just be you.” And I was very taken by that.

NiA: What was it like being a part of the City Light Orchestra?

DB: In 1980 when I became a bandleader there was a vocalist named Priscilla Bowman and she had a hit record called “Keep Your Hands Off Him, He Don’t Belong To You,” so it’s blues and it was a million-seller hit. I was going to my tenth high school reunion and a trumpeter said, we got this gig tonight–you should come and play drums with Priscilla Bowman, and I did. Then towards the end of the second set, she said she was going to go home, she was tired, so the club owner said to me, I heard you’re a vocalist, can you sing in the last set? And I said sure, so I sang some songs and after the set, he asked, what would you call this band? And I said I’d call it the City Light Orchestra. He asked, why orchestra? Why not the City Light Band because we’re the City Light Jazz Club. I said no, ‘orchestra’ sounds better, so that’s what we named it. And one thing led to another and we played there for seven nights, five nights a week.

NiA: What are some of your most memorable moments and experiences from being the bandleader of the City Light Orchestra?

DB: We got to go to New York. The editor of the newspaper here had been married in a nightclub on Upper East Side, 91st and 2nd avenue, and the club had just piano players, some of the exceptional piano players there, and this editor got us a gig for two weeks. So, the first time we went to New York we played for two weeks in a nightclub and that was phenomenal. We got to meet a lot of cool people, like Benny Goodman, Southside Johnny. To think of it now–to go to New York and play two weeks in a nightclub, twelve nights in a row with a Sunday off. That’s not really possible anymore unless you’re somebody of great stature. We were just a bar band.

NiA: It sounds like a dream!

DB: Yeah, it seems like a dream to me too.

To be continued in part three… In the meantime, check out Night is Alive’s albums page for the very best in jazz.

Learn more about David Basse at davidbasse.com

written by Jacqueline Knirnschild

photo from facebook.com/davidbassejazz/

Connected – Richie Goods & Chein Chein Lu at the Carlyle Room in D.C November 10th!

“We balance each other out,” says bassist Richie Goods, referring to his partner, the charismatic Taiwanese vibraphonist, percussionist and composer Chien Chien Lu. “We both want each other to be happy and feel good about the music that we’re producing.”

Chien Chien Lu is a vibraphonist, contemporary percussionist, and composer whose Taiwanese upbringing, classical music education, and passion for R&B grooves crystallize into a fresh and distinctive approach to contemporary jazz. Lu’s fierce authenticity and jazz mastery shine bright on her September 2020 debut solo project, The Path, which spent 20 weeks on the Jazz Week Charts Top 20, earned Best Jazz Songs in Golden Indie Music Awards and three Golden Melody Awards nominations, four Golden Indie Music Awards nominations and led to Lu’s being named the “vibraphone rising star” in Downbeat Magazine’s 69th Annual Critics Poll.

NY bassist Richie Goods, one of the most versatile and accomplished bass players on the scene today and the youngest person ever inducted into the Pittsburgh Jazz Hall of Fame, came to prominence while touring and recording with the late Mulgrew Miller and credits him for much of his success. Richie went on to make a name for himself through recording and touring with a variety of jazz and popular artists including Sting, The Headhunters, Louis Hayes and the Cannonball Adderley Legacy Band, Lenny White, Milt Jackson, Whitney Houston, and Christina Aguilera. His lengthy discography also includes Grammy award-winning and platinum albums of Alicia Keys and Common.

Tickets | Carlyle Room

Decoding Musical Notation: Unveiling the Meaning of Different Notes

(Featured Image: Dayne Topkin on Unsplash )

Music, the universal language that transcends cultural boundaries, has the power to evoke emotions, tell stories, and bring people together. At the heart of this intricate art lies musical notation, a system of symbols that conveys melodies, rhythms, and harmonies to musicians. Among these symbols, notes stand as the fundamental building blocks of music. Each note carries a distinct meaning, and understanding their significance is essential for any aspiring musician or curious listener. In this blog, we’ll embark on a journey to decode the meanings behind the different notes in musical notation.

The Basics: Pitch and Duration

Before delving into the specifics of individual notes, it’s crucial to grasp two fundamental aspects of music that notes encapsulate: pitch and duration.

      1. Pitch: Pitch refers to the highness or lowness of a musical sound. In notation, this is represented vertically on a set of five parallel lines called a staff. Notes placed higher on the staff indicate higher pitches, while notes positioned lower represent lower pitches.

      1. Duration: Duration refers to the length of time a note is held or played. It’s symbolized by various note shapes and their associated stems and flags.

    Understanding Note Values

    In musical notation, different note shapes represent distinct note values, indicating the duration of each note. Here are some of the most common note values and their meanings:

        1. Whole Note: A circular note head without a stem. It represents the longest duration among note values. When played, it’s typically held for four beats in 4/4 time signature, the most common time signature.

        1. Half Note: A note head with a stem pointing upward or downward. It’s held for two beats in 4/4 time signature.

        1. Quarter Note: Similar to a half note, but with a filled-in note head. It’s played for one beat in 4/4 time signature.

        1. Eighth Note: An eighth note has a filled-in note head and a flag attached to its stem. It’s played for half a beat in 4/4 time signature.

        1. Sixteenth Note: With two flags attached to the stem, a sixteenth note is played for one-fourth of a beat in 4/4 time signature.

        1. Thirty-Second Note: This note has three flags attached to its stem and is played for one-eighth of a beat in 4/4 time signature.

      Combining Notes: Understanding Rhythmic Patterns

      Once you’re familiar with individual note values, the next step is to comprehend how they combine to create rhythmic patterns. Rests, symbols representing periods of silence, are also essential to understand rhythm. Here are some common combinations:

          1. Ties: Ties connect two or more notes of the same pitch, indicating that they are held for a combined duration.

          1. Dotted Notes: A dot placed after a note increases its duration by half. For instance, a dotted half note is equivalent to three beats in 4/4 time.

          1. Triplets: Triplets divide a beat into three equal parts. Three triplet eighth notes, for example, would be played in the time normally occupied by two regular eighth notes.

        The Last Word

        (Songs for Ganda, by the Lorca Hart Trio, is a masterpiece of Jazz notation in action)

        In the world of music, notes serve as the bridge between the composer’s imagination and the performer’s rendition. By understanding the meanings behind different notes in musical notation, you gain the ability to read, interpret, and bring to life the intricate melodies and rhythms that have shaped human expression for centuries. Whether you’re a musician or an appreciative listener, delving into the world of musical notation opens up a new dimension of understanding and enjoyment, enriching your musical experience. So next time you hear a beautiful melody, remember that the notes are like the words of a language that speaks directly to our hearts and souls.

        John Philip Sousa and Patriotic Jazz Music 

        John Philip Sousa was a prolific composer of military marches and many other musical works. He earned the moniker, “The March King, because he composed over 130 marches. Perhaps his best-known works are “The Stars and Stripes Forever” and “The Washington Post March.” He also composed “Semper Fidelis,” the official march of the U.S. Marine Corps. You might not know that he also composed operettas, dances, orchestral suites, and overtures.

        Sousa was born on November 6, 1854, in Washington, D.C. His father, Antonio, was a musician in the Marine Band. John Philip Sousa studied violin, piano, and brass instruments, and became a young apprentice with the Marine Band until he was 20 years old. For a time, he toured with theatrical orchestras and moved to Philadelphia, where he worked as a composer, arranger, and proofreader for a music publishing companies. Sousa returned to the Marine Corp and served as the 17th director of the Marine Band from 1880 to 1892. Under his leadership, the band attained new levels of excellence and popularity. Sousa played a role in the development of the sousaphone, as he sought a brass instrument similar to a tuba but was easier to play during parades.

        John Philip Sousa went on to lead a civilian band after he left the Marine Corps. The band toured throughout the U.S. and Europe in the years leading up to World War I and helped to popularize ragtime in Europe. At age 62, he enlisted in the U.S. Naval Reserves after the United States declared war on Germany. Sousa was placed in charge of the band-training center at Great Lakes Naval Base in Illinois.   

        Sousa’s compositions are often performed at celebrations during national holidays. “The Stars and Stripes Forever” was designated as the official march of the U.S. in 1987.

        The U.S. Marine Band, known as the President’s Own, is currently celebrating its 225th anniversary as the oldest continuously active professional music organization in the U.S. The Marine Corps also has a jazz orchestra featuring Marines from bands in San Diego and New Orleans.

        The Airmen of Note is the premier jazz ensemble of the U.S. Air Force. It was formed in 1950 to maintain the tradition of Major Glenn Miller’s Army Air Forces dance band. The Airmen of Note perform big band music and contemporary jazz pieces throughout the world. The Jazz Ambassadors are the premier touring jazz band of the U.S. Army. This 19-piece ensemble performs jazz standards, patriotic music, and contemporary jazz as well as original compositions. Jazz vocalist Alexis Cole served in the U.S. Army for 6 years, where she performed with the West Point Jazz Knights.

        The West Point Band and the U.S. Army Field Band (Jazz Ambassadors) perform versions of “God Bless America” and other patriotic music.

        Some jazz musicians who have recorded iconic performances of patriotic songs include trumpeter Louis Armstrong, who played “The Star-Spangled Banner” at the Newport Jazz Festival in 1960. Armstrong believed that he was born on the Fourth of July, but his actual birthday was August 4.

        Bassist Charlie Haden recorded a soothing instrumental version of “America the Beautiful” with saxophonist Michael Brecker, pianist Brad Mehldau, and other musicians. It appears on the “American Dreams” album.

        Flutist Herbie Mann’s lilting version of “The Battle Hymn of the Republic” appears on his “Memphis Underground” album.

        Patricia Martin

        Photo by Tim Mossholder on Unsplash

        Best Jazz Playlist for an Unforgettable Holiday Party

        December is a special time for Holidays around the world (Christmas, Hanukkah, Kwanzaa, Boxing Day, Rohatsu, Ōmisoka, just to name a few) and we all know what that means: cookie baking, last-minute gift buying, and, of course, planning those annual Holiday parties! You are busy decorating the house, perfecting Pinterest charcuterie boards, and wrapping things up at the office so you can finally enjoy a few days off. As the big day approaches and you frantically arrange the finishing touches, you realize – this party needs a playlist!

        Rather than just choosing a generic Spotify playlist, make your party stand out by including some of the best jazz Holiday hits, old and new. Your guests will be impressed and it’s guaranteed to leave an impression that will last them though the New Year.

        Frosty the Snowman

        • Ella Fitzgerald

        Christmas Ain’t Like It Used To Be

        Christmas Ain’t Like It Used To Be
        • Night is Alive artists: John Di Martino, Andromeda Turre, Wayne Escoffery, Lonnie Plaxico, Willie Jones III

        Here Comes Santa Claus

        • Bing Crosby & The Andrews Sisters

        Happy Hanukkah, My Friend

        • Night is Alive artists: John Di Martino, Andromeda Turre, Wayne Escoffery, Lonnie Plaxico, Willie Jones III

        Linus and Lucy

        • The Bill Cunliffe Trio

        Sleigh Ride

        • The Ronettes

        I’ll Be Home For Christmas

        • Night is Alive All-Stars

        I’ve Got My Love To Keep Me Warm

        • The Mills Brothers

        White Christmas

        • Michael Bublé (ft. Shania Twain)

        Blue Christmas

        • Night is Alive artists: John Di Martino, Lonnie Plaxico, Wayne Escoffery, and Willie Jones III

        Carol of the Bells

        That Time of Year by Bill Cunliffe
        • Bill Cunliffe

        Its The Most Wonderful Time Of The Year (vocals)

        • Patty LaBelle

        Its The Most Wonderful Time Of The Year (instrumental)

        • The Bill Cunliffe Trio

        Think we should add a song to this list? Send Night is Alive a message on social media!

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        For more of the best in Holiday Jazz, visit https://nightisalive.com/product-category/christmas/

        Unwrap the Joyful Sounds of Christmas Jazz — A Look at the Best Christmas Jazz Albums!

        Are you ready to be transported to a musical winter wonderland? If so, then you’ve come to the right place! Christmas jazz is a genre of music that combines the traditional melodies of the Christmas season with the upbeat, improvisational sounds of jazz. From smooth, soulful tunes to funky, jazzy beats, Christmas jazz has something for everyone. In this article, we’ll explore the history of Christmas jazz, take a look at some of the best Christmas jazz albums, and share some tips for choosing the perfect holiday jazz albums. So, let’s get started!

        Continue reading

        Special Hoagy Carmichael Q&A with Joe Lang (Part III)

        Special Hoagy Carmichael Q&A with Joe Lang (Part III)

        Happy belated birthday to the legendary composer Hoagy Carmichael, who if still alive, would’ve turned 123 this year on November 22nd!

        In honor of the multitalented songwriter, we are wrapping up our chat with Joe Lang, who writes for the New Jersey Jazz Association.

        JK: Tell us more about your interest in Hoagy Carmichael.

        JL: He was my favorite songwriter. I became aware of him as a little kid because my dad used to sing around the house, and one of the songs he sang was “Stardust.” I was maybe four years old when I learned the words to “Stardust” and I used to go around and sing it to everyone and people thought what is this, a little kid singing about reverie?

        Hoagy was the first person in the entertainment world I was aware of and over time he became a hero of mine. You know there’s an awful lot of great songwriters in American song—Cole Porter, Irving Berlin, Ira Gershwin, Harlen Howard, and I love them all, but I love Hoagy more than anybody.

        Somebody once asked me who my three favorite songwriters were and my answer kind of flustered a lot of people because I said Hoagy, Stephen Sondheim, and Thelonious Monk and they didn’t see the connection. But you know I’m not a musician I’m a fan, so I’m not technically able to talk about music but I’ve listened to enough that you pick a lot up. For me, though, music is a very emotional experience rather than a technical experience, so a lot of songs strike me a certain way. I always tell people my favorite female singer was June Christie, not because I think she was the best female singer but there was just something about her singing that struck me emotionally—the sound of her voice, the phrasing, the fact that she kind of sang flat some of the time, it was kind of intentional and just was the thing that I react to.

        And of course, I love a lot of Hoagy’s songs and lyrics, and I sat next to Hoagy Carmichael at his 80th birthday tribute and that had to be one of the greatest thrills of my life—to meet Hoagy, well not only meet him, but there were several performers on the show that he was not familiar with that he was asking me about, so I was educating him in a way. And early in the show, I think it was the second song they played, Bob Crosby introduced one of the earliest songs that Hoagy wrote and recorded, and it was called “March of the Hoodlums,” and I knew Hoagy’s music well, but I just didn’t remember having heard that song. Then about halfway through the sang, Hoagy jabbed me in the ribs with his elbow and said, “You know I don’t remember a damn note of that thing—I’m not even sure I wrote it! And so, I go home, and I had an album with early Hoagy Carmichael material on it and sure enough that song was on it, and there was also a recoding of that same song by Duke Ellington, so it was not an unknown song in its day, although it’s not one of Hoagy’s songs that has continued on.

        It was funny that one of the guys who was on the program at the birthday tribute was Dave Frishberg. Now I thought that Frishberg was a latter-day Carmichael but when Frishberg came out, Hoagy had no idea who he was. Now Frishberg is a wonderful songwriter—he has a lot of songs that are a little bit different; that don’t follow a formula, and Hoagy was the same way—I think that’s one of the things that appealed to me about him. It wasn’t like you’d hear a song by him, and you’d think oh that’s a Hoagy song. He wrote so many different styles of songs and all so well. And he continued writing into the fifties. He probably kept writing after.

        JK: I’d like to switch gears a bit here to talk about your short review of Night Is Alive’s album My Ship.

        You wrote that Willie Jones II is “among the premier drummers on the scene today and demonstrates on this album that he also shines as a leader who knows how to put together a superior band. You will dig sailing on My Ship.”

        Now I am wondering—what is your favorite son on the album?

        JL: You know I’d have to look at the album again because I review 10-12 albums a month and I listen to many more that I get in the mail all the time.

        JK: There was “Can’t Buy Me Love,” “God Bless the Child,” “My Ship,” “Broadway,” “Taking a Chance on Love,” “Star Eyes,” “Wave,” “I Should Care” and “Christmas Time Is Here.”

        JL: Hmmm but I would say the song “My Ship” was probably the one I liked best if I had to pick one.

        Feature Friday Q&A With Wayne Escoffery Part I

        Ah, nothing beats the bliss of a Friday afternoon, right? And to improve your good mood even more, we have a new Q&A series with the Grammy-Award-winning tenor saxophonist Wayne Escoffery! 

        Escoffery has experience front lining, around the world, in Tom Harrell’s working quintet, as well as being a member of The Mingus Dynasty, Big Band and Orchestra, and teaching jazz improvisation at the Yale School of Music. 

        And now we’re lucky enough at Night Is Alive to have Wayne Escoffery featured in our albums My Ship and Old New Borrowed & Blue. And with Christmas being just around the corner, be sure to be on the lookout for our upcoming album, Christmas Ain’t Like It Use To Be, featuring Wayne Escoffery!

        So, without further ado, let’s get to know this remarkable musician! 

        JK: Was music a big part of your household when you were growing up?

        WE: Well, my mother was an avid listener of classical music and old school R&B music. But she was not a jazz listener. I basically grew up with my mother, but for the first few years of my life when my father was in the house he did listen to and play reggae music. He was an amateur reggae guitarist. So, there was exposure to that from a very early age, but for most of my childhood, it was with my mother, and she was a big fan of classical and R&B music. She would have it on casually in the house as background music. Music was always playing but it was never something that was discussed much or was a huge part of our lives. 

        JK: Do you have a most beloved song from your childhood?

        WE: Not in particular. But for sure, I myself was always a big fan of the young Michael Jackson and the Jackson 5. My mother played that a lot. And also, choral music, she played a lot of choral music. So, no specific song, just certain artists, like Michael Jackson—he’s definitely one that resonated with me and all the artists surrounding him. You know, Motown era music. 

        JK: Yeah, definitely great music! So, I saw that at age 11 you joined the New Haven Trinity Boys Choir and began taking saxophone lessons. 

        WE: Yeah, the boys’ choir was really my first formal introduction into music, so really, I consider the voice my first instrument. And yes, after that, at around 11, I started playing the tenor saxophone actually, which is somewhat unusual as a lot of older players start playing the clarinet or alto saxophone first.

        JK: What inspired you to join the choir?

        WE: Well, two-fold—my mother’s love for choral and classical musical and also, growing up in New Haven, Connecticut. New Haven is a very diverse place and while there are a lot of areas that are well-to-do, there is also a lot of poverty, so there were lots of areas, things ad environments that my mother wanted me to stay away from. She was definitely big on keeping me busy. When the director of the New Haven Boys’ Choir visited our elementary school looking for choir boys, he saw some talent in me and my mom right away suggested I join the boys’ choir. It was a pretty serious organization, so that pretty much kept me busy at least three days of the week. 

        JK: Hmm I see. Clever of your mom! And then you started playing the saxophone.

        WE: Yeah, I would basically go to choir practice with saxophone in hand and before or after choir I would have saxophone practice. Not necessarily playing jazz music, just band music. 
        If you’re looking for some more Wayne Escoffery, check out our albums My Ship and Old New Borrowed & Blue, both of which are available in our store and on all major music platfor