Stanford Jazz Workshop

SJW Artists

Peter Apfelbaum Sextet
Kenny Barron / Terrell Stafford / Dayna Stephens / Matt Wilson
Alan Broadbent Trio
Jimmy Cobb Quartet featuring Kenny Barron
Ruth Davies Blues Night featuring Barbara Morrison
Basie and Beyond: Jamie Davis and the Fred Barry Jazz Orchestra
Sasha Dobson Trio
Lou Donaldson Quartet
Madeline Eastman / Dena DeRose
Taylor Eigsti / Julian Lage Group
Eddie Gomez Trio / Frank Wess Quartet
Wycliffe Gordon Presents the Jazz Mentors
Wycliffe Gordon Quartet featuring Matt Wilson
Albert "Tootie" Heath
Jimmy Heath
Bobby Hutcherson
Nancy King
Kneebody
Lee Konitz
Maria Marquez Quintet
Jeb Patton Trio featuring Tootie Heath
Nicholas Payton Quintet
Kurt Rosenwinkel Group
John Santos Quintet
The Latin Side of the Great American Songbook with Peggy Stern
(New) Standards Night wtih Peter Stoltzman
Patrick Wolff Trio

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Eddie Gomez Trio/Frank Wess Quartet

Eddie Gomez
Born in Puerto Rico, Eddie Gomez grew up in New York and began playing double bass at 11. Perhaps best known for his long alliance with pianist Bill Evans, for whom he played acoustic bass from 1966 to 1977, Gomez is acknowledged as a brilliant talent. Time Magazine said of him, “Eddie Gomez has the world on his strings,” and this is obviously a widelyheld opinion: in addition to his pivotal role as bassist for the Evans trio, Gomez has supported Miles Davis, Dizzy Gillespie, Benny Goodman, Marian McPartland, Wayne Shorter and Chick Corea during his forty-some year career. Two of his recordings with Bill Evans, “Bill Evans at the Montreux Jazz Festival” and “The Bill Evans Album,” won Grammy Awards. This concert will feature Eddie with his trio performing a Bill Evans program, an ideal setting to showcase his nimble playing.

To find out more about Eddie, go to eddiegomez.com


Frank Wess
A true elder statesman, Frank Wess played flute, tenor and alto sax in Count Basie’s Big Band, known colloquially as Basie’s “New Testament” band. His solos were a distinctive element of Basie’s signature sound, and were an attractive counterpoint to those of tenor player Frank Foster (the two developed a mutual respect and admiration that continues to this day). Wess was born in Kansas City, first studying classical music before developing an interest in jazz. He received a degree in fl ute from the Modern School of Music in Washington DC, interrupting his career to serve in the miltary in WWII. After the war, Wess joined Billy Eckstine’s Orchestra in 1946, beginning work with Basie in 1953. Wess won Downbeat’s Annual Poll in the Flute category from 1959–1964. A list of Wess’ recording credits contains the biggest names of swing, bop and cool: Ella Fitzgerald, Sarah Vaughan, Quincy Jones, Clark Terry, Roland Hanna and Duke Ellington to name just a few. Recognized by the National Endowment for the Arts in 2007 with their NEA Jazz Master Award, Frank remains active at 85 and epitomizes the spirit of collaboration that jazz is all about.

To find out more about Frank, go to frankwess.org

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