Big Concert

Concert Program Notes

Piece 1: The Chicken – Pee Wee Ellis
Originally composed by Pee Wee Ellis and later popularized by the revered bassist Jaco Pastorius, The Chicken epitomizes 1970’s funk-infused jazz. Its syncopated bass line and bluesy melody create a playful yet technically demanding environment. Even though it sits firmly within the genre of funk, many respectable jazz musicians and orchestras have performed their own rendition, often adding the own unique spin.
Performing this piece allowed me to demonstrate articulation and timing within a funk context reminiscent of Maceo Parker, while engaging the audience through its familiar, upbeat character. This choice reflects my interest in groove-oriented repertoire and my desire to connect with listeners through rhythm-driven music.

Piece 2: Always There – Ronnie Laws

Always There (1975) is a seminal jazz-funk composition by Ronnie Laws, characterized by its infectious groove and melodic simplicity. Emerging during the fusion era, the piece blends jazz improvisation with funk rhythms, reflecting a shift toward accessibility in jazz. I included this work to establish an energetic opening and to showcase my rhythmic precision and ability to sustain a strong groove. Its repetitive motif allowed space for improvisation, aligning with my artistic identity as a performer who values both structure and freedom.
In 1991, the vocal version of the song was covered and released by British acid jazz band ‘Incognito’ and American R&B singer Jocelyn Brown. This version was their biggest hit in the UK. A true evergreen hit and is a prime example of jazz-funk morphing into the acid jazz genre.
 
Piece 3: The Days of Wine and Roses – H Mancini

Henry Mancini’s The Days of Wine and Roses is a lyrical jazz standard featuring a beautifully poignant melody and rich harmonic structure. that contrasts sharply with the preceding funk pieces. It is the theme tune from the eponymously titled, 1962, B&W movie.
Its harmonic richness and flowing melody invite expressive phrasing and dynamic nuance.
I selected this piece to introduce a more introspective mood, emphasizing my ability to convey emotion through tone and subtle rhythmic flexibility. This choice underscores my commitment to balancing technical display with interpretive sensitivity.
I start with a 32-bar unaccompanied (rubato/cadenza?) saxophone solo in which I’m free to improvise and explore and various melodic/harmonic/tempo possibilities. “If you don‘t live it, it won’t come out your horn” as spoke one of my ‘Bebop’ heroes, Charlie Parker.

Piece 4: The Stars Fell on Alabama – F Perkins

Written in 1934, Stars Fell on Alabama is a romantic ballad that has become a staple of the jazz repertoire. Its nostalgic quality and gentle harmonic progression provides an opportunity to explore warmth and intimacy in performance.
Incidentally, the song has its genesis in a spectacular occurrence of the Leonid meteor storm, observed over much of north and south America, in 1833. A young Abraham Lincoln witnessed: "Hundreds of thousands of luminous bodies shooting across the firmament in every direction”. Many observers were absolutely convinced it was the end of the world.
Considered to be the great Cannonball Adderly’s signature tune, his rendition features a soulful, blues-inflected saxophone solo. I was drawn to this tune having first heard a vocal version by Billie Holiday and immediately decided to include it in my jazz repertoire.
Including this piece allowed me to connect with the tradition of vocal-like phrasing on my instrument, reinforcing my artistic identity as a performer who values lyrical expression. Cannonball once said “It [jazz] is created to be enjoyed, not understood like you read a blueprint".

Piece 5: Push it to the Groove – Dan Edwards

Push it to the Groove is an original song that I wrote for this exercise in the style of an old school classic groove-driven funk. Much of the emphasis is on the powerful, rhythmic backbeat, as I draw on some Maceo Parker’s Funky, staccato, pentatonic playing, as a contrast to the melodic Charlie Parker style, jazz we heard earlier within the program.


Piece 6: Just between Us – Gerald Albright

This track is the title piece from Gerald Albright’s debut album, which marked a defining moment in the smooth jazz movement of the early 1990s. Albright’s style blends jazz with R&B and funk elements, creating a polished, groove-driven sound that emphasizes melodic clarity and soulful expression. The composition is significant for its role in shaping contemporary jazz saxophone performance.
I selected Just Between Us to highlight the saxophone’s versatility beyond traditional jazz idioms. Its smooth, expressive character aligns with my artistic identity, which values emotional communication and modern stylistic approaches. Including this piece demonstrates my ability to interpret contemporary jazz while maintaining technical control and stylistic authenticity.

Piece 7: In San Jose – Dan Edwards

In San Jose in other original song that I wrote for this recital. It has a West Coast smooth jazz feel. It reminds me of the time I spent working in silicon valley, California.
I pay homage to the great alto playing of David Sanborn. This offers an opportunity to showcase the instrument’s expressive range within a contemporary context. Sanborn’s music blends jazz sophistication with the soulful energy of R&B and funk, creating arrangements that are both technically engaging and emotionally compelling. Performing his work demonstrates versatility—moving beyond traditional jazz into modern grooves—while highlighting tone control, dynamic phrasing, and stylistic adaptability. This choice also connects the recital to a lineage of influential saxophonists who shaped the sound of modern jazz.

Piece 8: In a Sentimental Mood – Duke Ellington

Duke Ellington’s In a Sentimental Mood is an iconic, 1935 composition that epitomizes elegance and sophistication in jazz. Ellington recorded a classic version which appears on ‘Duke Ellington and John Coltrane’ (1963). I play in a style highly evocative of Coltrane’s; Its harmonic depth and melodic contour demand a nuanced approach to tone and dynamics. I chose this piece as the program’s closing statement, offering a reflective conclusion that honours the jazz canon and expressive playing. This selection aligns with my artistic intent to bridge historical significance with personal interpretation.
I was requested to play this song for a school friend’s sad family occasion recently so I find it’s lilting melody line particularly poignant.