This is such a great piece! In addition to all his deep musical knowledge, relentless creativity and overall mastery, I think Steve’s most powerful quality might be his positive energy. He has harnessed a spirit that any artist working in any medium would do well to capture in his/her/ their self to bring maximum life to works, and thereby to the audience. Steve has done it—a contemporary master indeed!
I agree with you Chuck! He has a positive/curious energy that is unmatched among almost anyone I know, of any age. And he participates in the scene as an active listener and ticket buyer, something more musicians would do well to do to not only support their peers but to achieve overall goodwill. Not everyone can afford this, though and I only know a handful of musicians who actively go and check out music like Steven does.
Great take, Matt. Sums up a lot of how I feel about the local scene these days, even though my feelings about it are mostly very positive. Leave it to a Berkeley High School grad to have it figured out.
Amen, indeed. I feel fortunate to have played with a band some years in this vein, led by composer-pianist Graham Connah, based in San Francisco in those years just prior to the dot-com-doom. Personalities on display, unity and individuality working towards swinging, open cohesion. Ben Goldberg, Marty Wehner, Trevor Dunn, Kenny Wollesen ( followed by Elliot Humberto Kavee and Ches Smith on the throne ). Matt, did you see that band??
Great article and an excellent point about the importance of individuality even in larger ensembles. I did a double take when I saw that Andy Axelrad had been one of your teachers. Andy was one of my best friends when we were students at UNT in the ‘80s. Great player and wonderful (and hilarious) guy.
Yeah. I haven’t talked to him in years. Since I was probably 23. I emailed him this article. Hopefully he sees it. Thanks for reading, Tom! Happy to have you here.
Phil Bodner! A.pleasant and friendly person and a fabulous first call woodwind player. He played all the woodwinds, including oboe. he once told me that when he got an oboe call, he'd get up an hour earlier and practice oboe!
I once did a session where Phil and Jimmy D'Abato were playing a duet on soprano and flute with a small rhythm section- guitar, bass , drums and percussion. Mitch Leigh had written a stunning part for Phil and Jimmy. The ad agency didn't like it. After about 20 minutes we were sent home. A week later we did a series if other Crest commercials, that Mitch had concocted out of his trash bin, including a re-write of Oh Susanna. The agency loved it.
This was a big lesson to me. It wasn't about what musicians liked. That was the last thing on the agenda!
Excellent article and wonderful interview with Maestro Bernstein.
A fun parallel that night. Steve played Diminuendo and Crescendo in Blue. At the famous Newport concert, legend has it that a woman jumped up and started dancing as Paul Gonsalves picked up speed. 27 choruses later history was made.
At Zankel during Stand a woman did just that and started dancing. Soon the whole crowd was on their feet in kind. It felt just that. Wonderful.
This is such a great piece! In addition to all his deep musical knowledge, relentless creativity and overall mastery, I think Steve’s most powerful quality might be his positive energy. He has harnessed a spirit that any artist working in any medium would do well to capture in his/her/ their self to bring maximum life to works, and thereby to the audience. Steve has done it—a contemporary master indeed!
I agree with you Chuck! He has a positive/curious energy that is unmatched among almost anyone I know, of any age. And he participates in the scene as an active listener and ticket buyer, something more musicians would do well to do to not only support their peers but to achieve overall goodwill. Not everyone can afford this, though and I only know a handful of musicians who actively go and check out music like Steven does.
Great take, Matt. Sums up a lot of how I feel about the local scene these days, even though my feelings about it are mostly very positive. Leave it to a Berkeley High School grad to have it figured out.
and i must say i must say performing with The West Coast version of MTO at the Monterey Festival was exhilarating. Thanks, Steven!
Amen, indeed. I feel fortunate to have played with a band some years in this vein, led by composer-pianist Graham Connah, based in San Francisco in those years just prior to the dot-com-doom. Personalities on display, unity and individuality working towards swinging, open cohesion. Ben Goldberg, Marty Wehner, Trevor Dunn, Kenny Wollesen ( followed by Elliot Humberto Kavee and Ches Smith on the throne ). Matt, did you see that band??
Hey Rob, I know Graham but I never saw this band. Maybe one day. Sounds amazing.
great piece, Matt! Look forward to more in this vein
Thanks Hank!
Great article and an excellent point about the importance of individuality even in larger ensembles. I did a double take when I saw that Andy Axelrad had been one of your teachers. Andy was one of my best friends when we were students at UNT in the ‘80s. Great player and wonderful (and hilarious) guy.
Yeah. I haven’t talked to him in years. Since I was probably 23. I emailed him this article. Hopefully he sees it. Thanks for reading, Tom! Happy to have you here.
Really enjoyed this, Matt!
Thanks Tobias.
great piece, Matt.
Thank you, sir.
Phil Bodner! A.pleasant and friendly person and a fabulous first call woodwind player. He played all the woodwinds, including oboe. he once told me that when he got an oboe call, he'd get up an hour earlier and practice oboe!
I once did a session where Phil and Jimmy D'Abato were playing a duet on soprano and flute with a small rhythm section- guitar, bass , drums and percussion. Mitch Leigh had written a stunning part for Phil and Jimmy. The ad agency didn't like it. After about 20 minutes we were sent home. A week later we did a series if other Crest commercials, that Mitch had concocted out of his trash bin, including a re-write of Oh Susanna. The agency loved it.
This was a big lesson to me. It wasn't about what musicians liked. That was the last thing on the agenda!
Wow this is an amazing story. Thank you for sharing, Richard!!!
Nicely done Matt. Great conversation with Steven! Sound, rhythm and especially MAGIC - AMEN to that indeed!
Thanks Kevin! You are a true mensch. Great to see you at Zankel!
Excellent article and wonderful interview with Maestro Bernstein.
A fun parallel that night. Steve played Diminuendo and Crescendo in Blue. At the famous Newport concert, legend has it that a woman jumped up and started dancing as Paul Gonsalves picked up speed. 27 choruses later history was made.
At Zankel during Stand a woman did just that and started dancing. Soon the whole crowd was on their feet in kind. It felt just that. Wonderful.
Wow, such a great anecdote, Marty. Good to see you there. Sorry we didn't get a chance to talk.
very very cool