Stanford Jazz Workshop
38th Season
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2009 Stanford Jazz Festival

> 2009 Festival At A Glance
June 26   James Moody Quartet featuring Benny Green
June 27   Early Bird featuring Crosspulse Duo/Crosspulse Percussion Ensemble
June 27   Gonzalo Rubalcaba
June 28   Dafnis Prieto Si o Si Quartet
July 3   Bobbe Norris with the Larry Dunlap Trio
July 5   Songs of Sinatra: An American Celebration
July 10   Wycliffe Gordon Quartet
July 11   Early Bird Jazz: Woodwinds & Strings
July 11   Regina Carter Quintet
July 12   Everything You Wanted to Know About Jazz (But Were Afraid to Ask)
July 12   Wesla Whitfield & the Mike Greensill Trio
July 17   Brazilian Guitarist Paulo Bellinati with special guests Carlos Oliveira & Harvey Wainapel
July 18   The Donald Harrison 3D Experience
July 19   Wayne Wallace Latin Jazz Quintet
July 20   Blastin’ Barriers with Frederick Harris & Friends
July 21   Julian Lage Group
July 22   Ruth Davies Blues Night with Elvin Bishop
July 23   Simply Standards with Melecio Magdaluyo
July 25   Matt Wilson’s Sonic Garden featuring Julian Lage
July 26   Taylor Eigsti & Free Agency
July 27   Horace-Scope with Jaz Sawyer
July 28   Jeb Patton Trio featuring Albert “Tootie” Heath
July 29   1959 Revisited
July 30   SJW Mentors with Matt Wilson
Aug 1   Madeline Eastman featuring Terell Stafford
Aug 2   The Heath Brothers
Aug 3   Generations Jazz Project
Aug 4   Stan@Stanford: Remembering Stan Getz
Aug 5   Mulgrew Miller Trio
Aug 7   SJW All-Star Jam Session
Aug 8   Dena DeRose Quartet featuring Steve Davis

Generations Jazz Project
Andrew Speight, alto saxophone; Eric Alexander, tenor saxophone; Terell Stafford, trumpet; David Hazeltine, piano; Ray Drummond, bass; Louis Hayes, drums

Monday, August 3, 8 pm
Take 5!Dinkelspiel Auditorium
Tickets: $32 general | $16 students

Tickets on sale now!

By phone: 650.725.ARTS (2787); In Person: Stanford Ticket Office
For more information, go to our Ticketing Information Page

Listen: One For all – Alexander/Davis/Hazeltine – "Till There Was You"

Listen: One For All – Alexander/Davis/Hazeltine – "Blueslike"

Listen: Terrell Stafford – "Nick off the Mark"

Listen: Terrell Stafford – "Pegasus"

Passing through the ranks of an established bandleader’s group used to be a rite of passage for young players on the way to leading their own bands. The best education was earned on the bandstand from leaders like Art Blakey, Miles Davis, or Horace Silver. As jazz has entered schools and universities a different form of education has emerged. Young musicians can now graduate from schools as extremely accomplished players, but too often they miss out on the wisdom gained by experience working with a veteran leader. Brainchild of saxophonist Andrew Speight and Dr. Jeffrey Babcock, Executive Director of the International Center for the Arts at San Francisco State University, the Generations Jazz Project aims to help revive the tradition of ensemble-based mentorship by giving young players total access to an all-star ensemble of established artists. The musicians of the Generations Band—Speight and Eric Alexander on saxophones, Terell Stafford on trumpet, pianist David Hazeltine, bassist Ray Drummond, and drummer Louis Hayes—all learned from the masters, and they are dedicated to passing their lessons on to the next generation.

 “Eric Alexander is a wonder; a young man with a horn whose impassioned tenor sax is the resonant vehicle for one of contemporary jazz's most exciting and original voices.”

–Jazz Times

Eric Alexander website

Pictured, L-R: Andrew Speight (photo credit: Mars Breslow), David Hazeltine (photo credit: John Abbott), Louis Hayes

Inside Jazz:
The Making of a Jazz Master
Andrew Speight
7 pm, free with concert ticket

Q&A with Eric Alexander

What is the first recording you remember hearing as a child?
I do remember hearing some Haydn symphonies that my parents used to play for me, but I can’t recall what they were!

Who is your favorite jazz musician under the age of 30?
There are so many talented young players – I couldn't name one, or even a few.

What job would you have if you weren’t a jazz musician?
My whole life since I was in late high school has been geared toward what I am doing now, and before that my interests were so varied that I didn't really have my eye on one thing. I certainly wouldn't mind being a professional athlete of some sort, but I was never really outstanding at any particular sport.

What’s the strangest experience you’ve ever had on the bandstand?
I fell off the stage at a club in Switzerland and messed up my saxophone. It hardly worked for the rest of the gig. The audience seemed to like all the squeaks and squawks that were coming out, though!

What’s your favorite food?
When it is right, a really good New York strip steak.

What’s the most exotic place you’ve traveled to as a musician?
There are so few truly exotic places left in the world these days, but I guess I would say Madeira off the coast of Africa.

What’s the last book you’ve read?
Romeo and Juliet

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
I love piano players (I am a frustrated one myself) and would really like to get a chance to play with Herbie Hancock.

What’s your favorite tune?
Right now it is “Revival of the Fittest” by George Coleman.

What’s your favorite thing about being a stanford jazz workshop faculty member?
Working with enthusiastic students of the music, and being able to run up to the satellite dish in my free time. 

What’s your favorite jazz venue?
Smoke in New York City

Who is your greatest musical influence?
Charlie Parker

If you were stranded on a desert island and could only have three recordings with you, what would they be?
Eastern Rebellion (with Cedar, Sam Jones, Billy Higgins and George Coleman); Let it Go (Stanley Turrentine); Crescent (Coltrane).

How much do you practice each week?
Not as much as I would like any more—maybe 14 hours.

What hobbies do you have?
Running, skiing.

If you could be any other type of artist other than a jazz musician, what would you be and why?
Concert pianist—like I said before, I am a frustrated piano player.

Do you have a favorite music-related joke (that can be told in mixed company!)?
All the music related jokes that I like are definitely not worth repeating except at two in the morning among very certain people!

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
I have enjoyed music since I was a young boy, but I feel that I have truly lucked out in getting the chance to be around so many great players (since my early 20's) that have propelled and inspired me.

If you were to describe your music as a color, what color would it be and why?
Purple—I hope that what I do has a deepness and intensity to it, while being mellow and pleasant at the same time.  

Q&A with David Hazeltine

What is the first recording you remember hearing as a child?
Jimmy Smith Plays The Standards was the first jazz record I owned.

What’s your favorite food?
Thai food

What’s the last book you’ve read?
Cheating at Canasta by William Trevor

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
Charlie Parker because he created the foundation of this music and I like to study, understand, know, and work with foundations.

How much do you practice each week?
Two-five hours a day. In college I practiced for 8-12 hours a day.

What hobbies do you have?
Movies, reading, running

When did you become interested in music, and what circumstances or events led to your becoming a professional musician? 
I've been interested in music since I was a baby. My mother was a professional musician and appeared on a local daily variety show when I was born so I spent a great deal of time watching her perform on TV and in rehearsals etc. I started fooling around with the piano at age five, working professionally at 13. After high school I was registered for engineering school but changed my mind at the last minute and went to a music conservatory.