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
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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Patrick Wolff Trio
Saxophonist Patrick Wolff has been active in New York City for 8 years. Primarily a jazz stylist, he has brought his voice to an eclectic mix of styles and groups, from the old-school swing of the Glenn Miller Orchestra to the Nigerian roots music of Afrobeat ensemble Asiko. His playing was featured in the 2001 education issue of Jazziz magazine, and he has since established himself as a jazz educator through 6 years on the faculty of Stanford Jazz Workshop. Wolff recently released his fi rst album, “Petals,” as a leader, and fashioned a first-rate modern jazz trio, crafting a sound that emphasizes collective thought and attention to the music, rather than the promotion of a single soloist.

In order to get to know him better, we asked Patrick to answer a few questions about himself:

What is the first recording you remember hearing as a child?
“Otis Redding singing “My Girl” on the soundtrack for “The Big Chill.””

Who is your favorite jazz musician under the age of 30?
“How old is Ornette Coleman?”

What job would you have if you weren’t a jazz musician?
“I would love to own and run a restaurant—I have had a lot of fun times working in them over the years, and I think they are one of the most stimulating work environments.”

What’s the strangest experience you've ever had on the bandstand?
“How about playing a bunch of WWII anthems with the Glenn Miller Orchestra- in front of a 1000-person audience in Nagasaki, Japan—and then getting a standing ovation.”

What’s the most exotic place you‚ve traveled to as a musician?
“Wheeling, West Virginia.”

What’s the last book you’ve read?
“Oblivion, by David Foster Wallace.”

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
“As far as living musicians go, I would love to play with Geri Allen—she has a depth and richness in her playing that knocks me out, and she makes horn players sound great.

What’s your favorite tune?
“For now, “Ruby, My Dear” by Thelonious Monk.”

What’s your favorite thing about being a Stanford Jazz Workshop faculty member?
“These are the only three weeks of the year when I can forget everything in my life other than music, and I really believe in the educational approach we take here.”

What’s your favorite jazz venue?
“Well, the Coho, of course. The Village Vanguard is okay, too.”

Who is your greatest musical infl uence?
“I can’t pick one, but Lester Young and Sonny Rollins continue to affect my playing every day.”

If you were stranded on a desert island and could only have three recordings with you, what would they be?
“Sonny Rollins “Live at the Village Vanguard,” Lester Young—all the stuff with Basie and Nusrat Fateh Ali Khan,“Live in Paris.”

How much do you practice each week?
“Roughly 168 hours.”

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
“I became interested heavily around the age of 14. Honestly, I’m still waiting for some of those circumstances you speak of, but I do know that every other line of work I’ve tried (and there have been a few) just don’t feel right, and I’m just not happy without the horn in my hands.”

If you were to describe your music as a color, what color would it be and why?
“That’s hard. As far as music goes, I think more in shapes than in colors, but I know we try to have a lot of variety in sounds, so there is hopefully a wide range of colors in there.”

If you could be any other type of artist other than a jazz musician, what would you be and why?
“A cook—it is the only other art I can think of where the gratification is as direct as with music.”


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