Program Book 2002-2003 page 25
CONCERT III PROGRAM NOTES, cont.

melodic style and a samba groove."

"Transcendental Samba is dedicated to my friend and colleague, Steve Bradley, who named the piece just weeks before his passing. He was instrumental in getting me computer literate, which played a big part in making this composition possible. After he suggested the title, I noticed an interesting progression to the piece. The opening four bar phrase ends with a cadence which asks, "whats to come?" In between is taking first steps, youthful confidence, all-out party fun, and a more mature, cooling down. Transcendental concludes with the same opening four bar phrase, this time an octave lower, and a final cadence that answers with peaceful resolution."

PHIL WOODS began saxophone lessons at age 12. At 16 he went to New York City and spent four years at the Juilliard Conservatory. "My first influences were Benny Carter, Johnny Hodges, and Charlie Parker." The list of musicians and singers with whom Phil Woods has performed and/ or recorded reads like a Who's Who of Jazz: Benny Goodman, Benny Carter, Bill Evans, Michel Legrand, Oliver Nelson, Thelonious Monk, Dizzy Gillespie, and Charlie Barnet are just a few of those stars. Deer Head Sketches is the second saxophone quartet by Mr. Woods.

EUBIE BLAKE (1883-1983) was as much as 20 years older than most of the other early jazz and ragtime musicians who composed and recorded their creations on 78s and piano rolls in the early years of this century. Incredibly, he met almost all of the pioneers, and he outlived them. By the time Eubie first recorded, he was 34, but he was already a show business veteran. With singer Noble Sissle, he brought the first 'Negro' musical to Broadway in 1921 Shujjle Along. In his later years, his willingness to travel, his ability to clearly recall events and people from 60 to 90 years before, and his openness and frankness (not to mention his keyboard facility) made him a national institution. The Amherst Saxophone Quartet met Eubie in St. Louis in 1979, and by 1980, Eubie helped the ASQ to record 14 of his works for the Musical Heritage Society record label. Dictys on 7th Avenue was composed when he was pursuing graduate work in music and features the use of the whole tone scale. Charleston Rag (1899) is an example of Eubie's classic Ragtime style. Charleston was originally entitled Sounds of Africa by Will Marion Cook, an influential conductor of the time. In 1921 it was renamed and promptly sold a million records. Even though Eubie was only sixteen when he composed the work, already a fully developed style was exhibited, with the presence of a very characteristic 'wobbly' bass line.

Amherst Saxophone Quartet Program Book Concert III program notes