Before I could read, I was naturally drawn towards music making and playing instruments for many hours without interruption. I soon became proficient at playing both piano and saxophone which led me to be able to study at the prestigious Berklee College of Music in Boston, MA. People often ask me which instrument I prefer and my answer regularly shifts between saxophone and piano, but I am passionate about both.
After more than a decade of playing the saxophone, I have developed a keen sense of listening by imitating other artists. In fact, my greatest strength as a saxophone player may not lie in improvisation, but in imitation and writing quality transcriptions. I choose to own and share my talent by transcribing passages for many around the world and have adopted a growing business model at KB Sax Lessons in order to do so. I have yet to turn down a transcription request for saxophone and am prepared take on the challenge.
As an astute listener, my piano playing was often disrupted by the inevitable string that falls out of tune, which inspired me to learn the craft of piano tuning and repair. After several years of honing my skills, I passed a series of rigorous exams to attain the designation of Registered Piano Technician, with the Piano Technicians Guild. I now have control over all of the strings, essential repairs, and fine regulation required to bring out the best piano player in myself, students, and musicians. I continue to render my skills as a piano tuner and technician for those who desire the proper and necessary maintenance of their piano
Similar to lifelong friends, the artists I revere are few, well chosen, and incredibly significant. I have spent many hours listening to Sonny Stitt’s album, 37 minutes and 48 seconds. His playing has influenced me to acquire a tone as cavernous and enchanting as his. Art Pepper exudes his own kick with his raw approach to saxophone playing in his album, Art Pepper Meets the Rhythm Secton. His clean articulation simply put, is a joy to listen to and reproduce. Lastly, and certainly not least, Cannonball Adderley provides a framework for technical and tonal excellence. His playing is incredible and is ranked second to none, not even to Miles Davis (for the first time), on his album, Something Else. I find this album truly remarkable and is a treasured possession of mine. To embody Cannonball Adderley’s playing is to sculpt one’s playing with a fine chisel. I will continue to revere these important players and strive to model them in future saxophone performances.