tag:www.tonydagradi.com,2005:/blogs/newsNews2022-12-28T10:44:35-06:00Tony Dagradifalsetag:www.tonydagradi.com,2005:Post/71293892022-12-28T10:44:35-06:002023-10-16T09:46:54-05:00TONY DAGRADI, A SPIRITUAL APPROACH TO JAZZ<p>The fourth in a series of five original e-books by David Lasocki about New Orleans' legendary contemporary jazz group, Astral Project. <br>"The amount of information and understanding David Lasocki has brought together in all of the books in this series is mind boggling. I canʼt think of any other texts that document the evolution of a contemporary jazz ensemble with such insight and amazing attention to detail. The interviews and musical revelations really give the reader a unique perspective into the inter-personal workings of the band as well as its musical development." - Tony Dagradi </p>
<p><a contents="Instantharmony.net" data-link-label="" data-link-type="url" href="http://instantharmony.net/Music/eb15.php">Instantharmony.net</a></p>Tony Dagraditag:www.tonydagradi.com,2005:Post/32705442014-11-06T20:12:28-06:002014-11-07T08:38:06-06:00Downbeat (December 2014) <p>Four Stars</p>
<p>On first listen, Tony Dagradi’s Gemini Rising sounds simply like a New Orleans ensemble hitting its stride with equal parts grace, grit and gumbo. But wait a minute - this is a horns-and-drums band only. Master saxophonist Dagradi performs on soprano, alto, tenor and baritone, layering his horns (up to 10 in a tune) with the accompaniment of three New Orleans Drummers: Herlin Riley, Johnny Vidacovich and Troy Davis. It’s amazing that essentially two musicians (per track) and technology can create such a vibrant, joyous recording.</p>
<p>A traditional soprano-alto-tenor-baritone saxophone quartet is used on some songs, but most use a more atypical instrumentation of alto, two tenors and baritone. Perhaps this accounts for the unique textures Dagradi achieves on “Sweet Remembrance,” “Monk’s Mood” and “Sweet Faced Lie.” Dagradi also credits his friend Boby McFerrin as inspiration in his multi-layering of horn parts. Any way you slice it, Gemini Rising is an irresistible album.</p>
<p>Baritone toots kick off “The Wheel.” joined by aromatic tenors that swirl a snake charmer-like spell. A Caribbean groove informs “Mandela”; a triumphal if forlorn mood fills “Sohana Sha Kirpal.” The title track is pure James Brown-worthy funk with Indian tabla adding an otherworldly edge. “Monk’s Mood” uses four solo horns as an emotional compass recalling ’60s-era Herny Mancini. Throughout Gemini Rising, Dagradi creates a seamless full-bodied sound, each song emotional, riveting and joyful. </p>
<p>- Ken Micallef </p>Tony Dagraditag:www.tonydagradi.com,2005:Post/32705432014-11-06T20:08:30-06:002014-11-07T08:42:49-06:00ST (Saxophone Today - Nov/Dec 2014) <p><span style="letter-spacing: 0.0px">Tony Dagradi’s recent release, "Gemini Rising," is a unique recording of original compositions, and one Monk composition (<i>Monk’s Mood</i>) performed by a section of saxophones (all played by Dagradi) and only drums. Joined by some fo the busiest working drummers in New Orleans, John Vidacovich, Herlin Riley and Troy Davis, the music on the CD overflows with rhythmic, melodic, and harmonic energy.</span><br><br><span style="letter-spacing: 0.0px">A mainstay on the New Orleans music scene for over thirty years, Dagradi has not only performed with some the city’s top musicians, such as Ellis Marsalis, Allen Toussaint, James booker, and others, but also as a member of groups led by Carla Bley and Bobby McFerrin, and is currently a member of the recognized quintet from New Orleans, Astral Project. He is currently a faculty member at Loyola University, where he has taught saxophone and various classes in jazz since 1990.<br><br>The CD opens with <em>The Wheel</em> and immediately kicks off with a driving groove laid down by the baritone saxophone </span>and accompanying rhythmic figures by the rest. The Wheel uses a quartet of alto, two tenors, and baritone saxophone to convey Dagradi's ear catching opener that pops with rhythmic synchronization. This instrumentation represents the first recording of Dagradi performing on alto and baritone saxophone, and is used not only for <em>The Wheel</em>, but also on <em>Sweet Remembrance, Glory, Monk's Mood </em>and <em>Sweet Faced Lie</em> on this CD. Dagradi's baritone playing on these and the other compositions on this CD is robust, and his tone is full-bodied while his alto playing is appropriately pliable, but also projecting when leading the group.<br><br><em>Sweet Faced Lie</em> provides a Blakey-styled shuffle anchored nicely by drummer Troy Davis and played with the expected hard hitting style, as well as spirited tenor saxophone solo. Dagradi's expressive contemporary alto saxophone sound is also featured as the lead and soloist in the Gospel-influenced, medium groove, <em>Glory</em>. <em>Monk's Mood </em>is a luscious arrangement performed with sensitivity, and captures Thelonious Monk's humor, as wells genius, while <em>Sweet Rmembrance</em> emotes subliminal musical feeling underpinned with a mysterious Latin-American rhythmic backdrop as its foundation.<br><br>Dagradi's use of the soprano, alto, tenor and baritone saxophone quartet instrumentation can be heard on the funky hard -hitting title cut, <em>Gemini Rising</em>, and again on Spherical and Tango. <em>Spherical</em> provides the CD with a blues-drenched New Orleans second line groove, with Dagradi's soprano solo flying effortlessly over top the solid executed groove throughout. Dagradi's tongue-in-cheek <em>Tango</em> is well played, and effectively portrays the dance, as well as emotion, among others, characteristics of the style.<br><br>The remaining three compositions, <em>Mandela, Sohana Sha Kirpal </em>and <em>Cannonball</em> incorporate expanded saxophone ensembles. <em>Mandela's</em> groove is celebratory, with a strong rhythmic drive and ostinato momentum, with solos by Dagradi matching the style and groove accordingly. While <em>Sohana Sha Kirpal</em> offers a full textured pop-styled ballad with complimentary harmonies. <em>Cannoball</em> is a fun riff blues with a multiplicity of saxophone layers giving the track a sonorous sound from start to finish.<br><br>Kudos to Dagradi for not only selecting, writing, and arranging for saxophone ensembles a set of interesting and enjoyable tunes on the CD, but also performing the heck out of them on each instrument.</p>
<div>- Frank Bongiorno</div>Tony Dagraditag:www.tonydagradi.com,2005:Post/31268392014-08-08T09:14:49-05:002014-08-19T10:24:17-05:00Jazz Inside - Gemini Rising<p style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0.5em; margin-left: 0px; line-height: inherit; ">Gemini Rising is a unique entry in Tony Dagradi’s discography. For this project of mostly original music, Dagradi overdubbed on four of his horns and is just joined by one of three different drummers. After hearing one selection, it is obvious that nothing is missing and the results are quite simulating and spirited. <br><br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Tony Dagradi has long been one of the leading modern jazz performers based in New Orleans. Normally he is heard on tenor and soprano. Among the many artists with whom he has performed are Ellis Marsalis, Gatemouth Brown, Allen Toussaint, James Booker, Dr. John, Johnny Adams, Bobby McFerrin, Mose Allison and Nat Adderley. He worked with the Carla Bley Orchestra for five years. <br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Dagradi is probably best known for his work with Astral Project, a group that he founded in 1978. The quartet usually features guitarist Steve Masakowski, bassist James Singleton and drummer Johnny Vidacovich and, for its first 20 years, also included pianist, David Torkanowsky. Their mixture of jazz, New Orleans parade rhythms, funk and World Music is also reflected in Gemini Rising, but in a very different way. <br><br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Three songs on this CD (“Gemini Rising,” “Spherical” and “Tango”) feature Dagradi on soprano, alto, tenor and baritone saxophones. Five of the other tunes have Dagradi playing alto, two tenors and baritone. The remaining three selections (“Mandela,” “Sohana Sha Kirpal” and “Cannonball”) have additional overdubbing with as many as ten different saxophone lines played by Dagradi. All of the pieces other than “Monk’s Mood” are is his originals. <br><br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">I find two different aspects of Gemini Rising to be particularly striking. One is how Dagradi actually sounds like several different musicians at once, displaying slightly different personalities on each of his horns. One would not think, if not notified beforehand, that it was the same musician on all of the horns. Also quite noteworthy is how complete this “band” sounds. Due to the inventive arrangements, one does not miss the string bass or piano. All of the necessary music is heard even if the instrumentation is pretty unusual. <br><br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The music covers a wide range. “The Wheel” is a rhythmic piece with attractive harmonies and riffs by the horns behind the lead voice. “Sweet Faced Lie” is particularly catchy. The celebratory “Mandela” sounds South African and could have been written by Abdullah Ibrahim. While “Sohana Sha Kirpal” is a bit more somber and has the feel of a ballad, Dagradi’s tenor solo gets heated. <br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">“Gemini Rising” is soulful and a bit funky with infectious rhythms and the soprano in the lead. “Monk’s Mood” is given a relatively straightforward version with harmonized horns paying respect to Monk’s melody. “Spherical,” despite its title, is not a tribute to Monk but instead features parade rhythms and some passionate soprano playing. “Sweet Remembrance” has a theme full of longing while “Cannonball” is a rambunctious blues filled with hot solos. “Tango” lives up to its name while the closing “Glory” has one of the strongest melodies of the set along with some irresistible rhythms and Dagradi sometimes sounding a bit like Hank Crawford on alto. <br><br style="padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Even if one cannot go out and see this band live, Gemini Rising is highly recommended.<br><br>- Scott Yanow</p>Tony Dagraditag:www.tonydagradi.com,2005:Post/30065162014-06-10T14:45:01-05:002014-06-14T20:59:47-05:00Gemini Rising - Offbeat MagazineIn the late '80s, Tony Dagradi played and recorded with the New Orleans Saxophone Ensemble, an all-star group that was modeled after the internationally renowned World Saxophone Quartet. It included the late Earl Turbinton and Fred Kemp plus baritone saxophonist Roger Lewis.<br><br>Gemini Rising uses a similar concept though with a major twist. Dagradi performs all the horn parts - soprano, alto, tenor and baritone saxophones - accompanied by a single drummer. Herlin Riley, Johnny Vidacovich and Troy Davis take turns at the drum set on an album of all Dagradi compositions with the exception of the standard "Monk's Mood."<br><br>Seeral of the tunes such as the title cut and the celebratory "Mandela" will be familiar to fans of astral Project, the modern jazz institution that Dagradi formed back in 1978. In fact, "Gemini Rising" was even recorded by the New Orleans Saxophone Ensemble on the 1988 Rounder release, New New Orleans Music, as well as covered by the Dirty Dozen Brass Band. Naturally, the rather unusual instrumentation and refreshed arrangements heard on this Dagradi project give them as well as the previously unrecorded tunes a unique flavor.<br><br>Each drummer brings his own spirit and expertise to the material that moves from swinging to funky, to street beats and even a tango. These changes of styles, rhythms and moods offer enough variations to keep the music moving. Surprisingly, perhaps, there are no drum solos on the album.<br><br>Always a saxophonist of invention, Dagradi has really become a master of the baritone. He holds down the bottom with rhythmic determination and melodic interest as he accompanies, well, himself.<br><br>Gemini Rising looks back to the past for inspiration and forward to the future for new ways to hear and explore jazz.<br><br>- Geraldine Wycoff, June 2014Tony Dagraditag:www.tonydagradi.com,2005:Post/30065142014-06-10T14:43:50-05:002014-08-19T10:24:44-05:00Astral Project At New Orleans Jazz Fest 2013Astral Project first played New Orleans Jazz Fest in 1978. And this savvy, virtuosic quartet has been bringing its well-honed modern jazz ideas to the Fair Grounds ever since. On Friday at the Jazz Tent, the quartet showed that the young lions of decades past haven't lost their roar, their teeth, or the feline grace of their improvisations.<br><br>Reedman Tony Dagradi still runs harmonic mazes with aplomb. (On tenor, Dagradi is virile and fleet, on soprano he's a pastoral piper - take your pick).<br><br>Guitarist Steve Masakowski matched Dagradi for harmonic sophistication and raised the ante with the warm, honey-toned sound he draws from a hollow body guitar. As the set progressed this self-possessed stylist ignited, building solos from scalar runs, chiming octaves and lush strummed chords - and keeping all the elements aloft with the jaw-dropping skill of a circus juggler.<br><br>At the kit, Johnny Vidacovich showed a jazzman's ease as he danced around the rhythm, prodding his colleagues with sudden downbeats and press rolls. He simmered on brushes, and switched to New Orleans parade figures when the music began to dance.<br><br>Bassist James Singleton is the great, natural expressionist in this band. His organic sound has the woody strength of a towering Louisiana cypress, and he is a master at walking behind a soloist. When he steps into the spotlight, he draws blues feeling from the most abstract modern lines.<br><br>Great ingredients, huh? But on Friday, Astral Project didn't sound like a bunch of star soloists showing off their skills. It sounded like a band - a band of brothers venturing into fresh territory.<br><br>Chris Waddington, NOLA.com<br>May 3, 2013Tony Dagraditag:www.tonydagradi.com,2005:Post/30064792014-06-10T14:42:08-05:002014-08-19T10:25:28-05:00Saxophone JournalNovember/December 2012 Vol. 37, No. 2<br><br>New Saxophone Publications by David Demsey<br><br>Sax Solos Over Jazz Standards: Book-CD set<br><i>Recommended for: musicians who already have some knowledge of jazz theory, but are struggling to unlock their own “true voice” as a composer or improviser</i>
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<div>Tony Dagradi has a long reputation as a major-league modernist tenor player. He has for years been on the faculty of Loyola University in New Orleans, and has played with the best of that city’s legendary musicians as well as Carla Bley, Bobby McFerrin, Mose Allison and Nat Adderley.</div><br>It has been said that improvisations are actually compositions “done without benefit of an eraser.” This collection allows students to gain great insight into Dagradi’s compositional sense as an improviser as he constructs ear-bending solos based upon a set of jazz and popular song standards. Dagradi separates the tunes into two groups: one set built around the bebop rhythmic and harmonic tradition, and another group dedicated to more modal and “outside” playing in the realm of John Coltrane, McCoy Tyner and others.<br><br>The be-bop oriented solos are contained in his tunes Brown Out (based upon Stella By Starlight), Caught Red Handed (a Latin version of rhythm changes), Flesh Tones (What Is This Thing Called Love). More modern, modal styles are exhibited in his tunes based upon Softly As In A Morning Sunrise, Impressions, Poinciana, Nica’s Dream and Solar Flair.<br><br>The accompanying CD contains two versions of each tune, one with Dagradi demonstrating the etude, and the other with the rhythm section only. The etudes appear in the book in B-flat and E-flat keys for alto and tenor. A wealth of experience can come from students simply listening to Dagradi’s playing, first letting his terrific sound, sense of swing and phrasing get “inside the head” without any horn involved, then adding the saxophone to emulate his style.<br><br>The factual account of the book’s contents doesn’t differentiate it much from the vast amount of jazz material that’s on the market. What separates Dagradi’s book from the pack is - Dagradi himself. He has a gift for creating a balance between the spontaneous moment of improvisation and the “textbook” outlining of patterns. He takes his solos directly from his own improvisations, while still providing a wealth of patterns and ideas for younger students. There is a harmonic and melodic clarity in his playing that clearly outlines the harmony, without being pedantic or patterned. Every solo in this collection contains over a dozen short passages that I’d recommend that my students learn in all keys.Tony Dagraditag:www.tonydagradi.com,2005:Post/30064782014-06-10T14:41:21-05:002017-01-14T13:08:10-06:00Sax Solos Over Jazz StandardsToday, I would like to introduce “Sax Solos Over Jazz Standards,” a new book and play along CD which was just released by Jamey Aebersold’s Jazz Books. My goal in producing this music was to present sophisticated and balanced melodic statements based on standard changes which could serve as superior models for practice and study. While these solos are carefully and painstakingly ‘composed,’ each is designed to evoke the spirit of an improvised performance.<br>At the core of any investigation into the art of improvised music is the process of listening to and transcribing the work of past and present masters of the genre. These performances fully define the idiom and, for the astute listener, can answer any questions and point the way for future exploration and development.<br><br>In practice, students of the idiom should attempt to recreate exactly the notes of transcriptions while emulating the tone and rhythmic nuances of the solo artist. This sharpens listening skills and helps to reveal some of what the artist is doing physically to produce his unique tone.<br><br>To be able to execute the dexterous phrases associated with so many jazz performances solid technical skills are also required. Most players have spent a great deal of time practicing exercises and scale studies which help facilitate their creative efforts. A flashy lick or seemingly impossible run that go by in an instant are most likely the result of many hours of practice and experimentation.<br><br>Technical prowess, however, is just a first step. Accomplished players must have a firm grasp of the intervallic relationships that make up the vocabulary and language of jazz combined with a thorough understanding of harmony and form. The development of melodic ideas in any improvised statement is directly related to the length and arrangement of individual phrases within a composition as well as the overall form.<br><br>Finally, technique, theory, language skills and experience must all come together for any artist to create a cohesive musical statement. When we speak we put words together to make phrases, sentences and paragraphs which express our ideas. To create an improvised solo a similar synthesis takes place on the bandstand. Intervals and short melodic phrases must be arranged in a thoughtful and hopefully inspired manner to create a complete musical idea which has continuity and meaning.<br><br>In the refined jazz ‘etudes’ found in “Sax Solos...” all of the elements discussed so far come into play. In like manner, many facets of post bop and contemporary playing styles are addressed, including the use of pentatonic scales, various types of chromaticism, the development of motivic ideas and even ‘outside’ sensibilities.<br><br>To fully understand the intricacies of each piece, it is important that the reader be cognizant of the harmonies, chord scale relationships and forms being used. What scale or mode is being indicated by the melodic line? Do certain structures point to alternate harmonic possibilities? How are different types of chromaticism employed? Sometimes the answers to these questions are obvious. However, a purposefully nebulous relationship between melodic ideas and a harmonic progression can also be a source of excitement for both the performer and listener.<br><br>Throughout the various pieces found in this book I attempted to balance these kinds of choices to create variety and interest. I also tried to incorporate well established bits of vocabulary and language. These include often used chromatic passages, classic arpeggios of certain harmonic structures as well as the use of altered pitches to create familiar melodic phrases. Pacing and the formulation of organic phrases were also considered. And, with each solo, I tried to tell a story.<br><br>From a technical perspective this music is designed to challenge. Created originally for the tenor saxophone, the intervallic leaps and length of phrases require solid mechanical skills and musicianship. All are written in common keys for the standards on which they are based. While a few altissimo notes are required for tenor and soprano saxophones, the E flat transpositions fit neatly into the written range of alto and baritone. (Both B flat and E flat parts are included in the book.)<br><br>For each of the twelve pieces there are two tracks on the accompanying play-along CD. The first track includes me playing the written solo on tenor with the rhythm section, then a quick fade out. The subsequent track features the same rhythm section accompaniment in it’s entirety for individual practice and experimentation.<br><br>Here are several excerpts which demonstrate some of the ideas mentioned above (all examples are in B flat):<br><br>Example 1 contains the first eight bars of “Brown Out” (“Stella By Starlight”). The flowing melodic line clearly indicates the choice of chord scales and establishes a measured, organic sense of phrasing. Notice the one chromatic passing tone in bar 4 and the arpeggios in bar five and seven which outline upper structures of each chord. These types of melodic and rhythm sensibilities, firmly based in a post bop style, underlie much of the entire text. <img src="//d10j3mvrs1suex.cloudfront.net/u/38131/2b77b351c4759a9b1705176c23f048152bd32515/large/Example-1.jpg?1381235693" class="size_orig justify_none border_" alt="" height="208" style="cursor: default; display: inline; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; " width="600" /><br><br>Example 2 is the bridge of “Silver Lining” (“In Your Own Sweet Way”). I composed this solo as a medium swing exercise which focuses, in part, on double time figures. Here you can see an interesting ascending motivic sequence in bars 59-61, followed by descending shapes in the chromatic ii-V sequence in bars 63-64. Notice also the use of a pentatonic scale pattern for the E major seventh chord in bar 58.<img src="//d10j3mvrs1suex.cloudfront.net/u/38131/2d954fcf453b97f72125ae43f920d533dddd7b53/large/Example-2.jpg?1381235693" class="size_orig justify_none border_" alt="" height="269" style="cursor: default; display: inline; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; " width="600" /><br><br>“Totally Golden” is based on John Coltrane’s “Impressions.” Example 3 is the second A section of the form leading into the bridge. To echo the quality of Trane’s early sixties style, this piece is constructed predominantly from various pentatonic scales derived from the two modes which make up the original progression. Check out the simple, dramatic effect achieved with the introduction of the C sharp in bar 12. The seemingly ‘outside’ notes in bar 16 appear startling at first, but are merely an anticipation of the change of key at the bridge.<br><img src="//d10j3mvrs1suex.cloudfront.net/u/38131/ce676003c29f171b74b5b8f311e89e2a1d02a5e7/large/Example-3.jpg?1381235693" class="size_orig justify_none border_" alt="" height="189" style="cursor: default; display: inline; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; " width="600" /><br>In the first eight bars of the second chorus of “Yellow Dawn” (example 4) you can see several types of chromaticism and phrases that allude to chord scales outside the written progression. The G sharps in bars 34 and 37 are used as both lower chromatic neighbor tones and approach notes. A descending sequence in bars 37-39 creates the feeling of a downward spiral. The most unconventional notes in this passage are the E flats in bars 38-39. Resultant melodic structures seem to indicate the momentary use of an E flat whole tone scale which leads the listener away from the original tonality, then back again.<br><img src="//d10j3mvrs1suex.cloudfront.net/u/38131/5d850332d9a31ade2bec46bf6ca949a14c13790c/large/Example-4.jpg?1381235693" class="size_orig justify_none border_" alt="" height="194" style="cursor: default; display: inline; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; " width="600" /><br>It is my hope that “Sax Solos...” will be especially useful to advancing players who are seeking solid material to digest. Along with some very standard vocabulary and challenging technical passages, there are definitely some idiosyncratic ideas and phrases. Hopefully readers will enjoy what’s here and find material for personal study and practical application. Educators take note: These etudes can also function as challenging audition pieces for local, regional and state competitions.<br><br>“Sax Solos Over Jazz Standards” is published by Jamey Aebersold Jazz and is available at: www.jazzbooks.com<br><br>Tony Dagradi<br>Down Beat - December 2011<br> Tony Dagraditag:www.tonydagradi.com,2005:Post/30064772014-06-10T14:40:19-05:002014-08-19T10:25:49-05:00Interview With Tony DagradiAstral Project is often called the best contemporary jazz band in New Orleans, with good reason. They play with the cohesion of a band that’s been together fordecades, andthe passion of youngsters. Their music is at times outside, inside, funkified, and even a bit sanctified.<br>Tony Dagradi is the leader of the group. Playing a number of saxophones, he can surprise a jaded listener by taking the soprano sax places smooth jazzers have never dreamed about.<br><br>I had a chance to talk with Dagradi by phone from his New Orleans home, shortly before the group left for its September tour of the Midwest.<br><br>LE: You’ve been together, what, 30 years?<br>TD (Laughing): We started when we were in kindergarten.<br><br>LE: Are you all natives of New Orleans?<br>TD: Johnny Vidacovich and Steve Masakowski, the drummer and guitarist are native. James Singleton and I both arrived in New Orleans around 1977. I don’t know how long you have to be here to be a native.<br><br>LE: It sounds like you’re a native now.<br>TD: Yeah. You get involved in the scene and you’re part of the community, ultimately.<br><br>LE: What brought the four of you together?<br>TD: It was mostly my concept. When I arrived in New Orleans, I had been playing with a great group I had in Boston called Inner Visions. I wanted to have a group, someplace where I could do whatever I wanted. After I was in New Orleans awhile I scoped out the local artists and there were many. I just brought people together that I thought would be a good combination.<br><br>LE: Did you move to New Orleans specifically to start a different kind of group?<br>TD: No. Actually, that wasn’t why I moved here. It was just something I had to do while I was here. I moved to New Orleans because I didn’t want to go back to Boston and actually I only intended to check it out and stay for a short time myself. But… the music scene is so vibrant and so incredible that I just kept staying and staying.<br><br>LE: When you brought the other members of the group together, what was your concept?<br>TD: l had in mind to do something a little more electronic, with electric keyboards, and an electric bass, because this was 1978. I was thinking about Miles. I was thinking about Weather Report. But the more we played it became apparent that our backgrounds and hearts were really in acoustic and very interactive music. So it started out from that fusion place but ultimately went to very acoustic jazz and very interactive music.<br><br>LE: It seems you depend a lot on individual contributions from each of the band members for your repertoire.<br>TD: Absolutely. Everybody writes. I probably bring in about 50% of what we do, Steve writes a lot. Steve Masakowski is a great, great composer. James is a unique composer. Johnny writes probably the least, but when he brings in something, it’s great.<br><br>LE: is there any other way the band has evolved over the 30 years you’ve been together?<br>TD: It’s subtle. From an instrumental and orchestration standpoint, initially we started out with keyboards, bass, drums, sax, and we had a percussionist. As things moved forward in time the percussionist, Marc Sanders, moved to New York. So we were a quartet for a moment and then we added Steve. Steve is the junior member, he’s only been here 20-something years. David Torkanowsky was the pianist, and it turned out that he just got busier and busier doing other stuff, involved in studio work, so when we would go out on tour it would be a conflict. Ultimately we said let’s lose the keyboard and keep it lean and mean as a quartet. That’s the way I’ve liked it the best so far. <br><br>LE: You do a lot of the writing and get writing from other members of the band. When you bring in a song, or Johnny does, or Steve does, how do you go about arranging the song?<br>TD: We rehearse very infrequently, but when we do what happens is someone brings in their music and they have a good idea of what they want. But… everybody looks at the music and decides, or takes a little liberty with it and develops his own part. That sometimes involves the actual arrangement, like “Let’s loose the interlude, or only do the interlude in one place.” So the arrangement itself evolves a little bit at the rehearsal, but then a lot on the bandstand.<br><br>LE: Obviously after so much time together you can read each other well. You don’t have to look at each other and say "I’m going to take a chorus now."<br>TD: If you talk to John Vidacovich, he’ll tell you he just watches people’s body language. He knows when somebody is going to take that next chorus or not. That’s the way he plays. He watches people and looks to help shape the individual solos by his support. He’s watching body language, listening to what’s happening. There’s a lot of trust and a lot of things have evolved, so that we do know each other’s playing pretty well.<br><br>LE: Individually, you have all played with some of the giants of New Orleans music. What did you learn from that?<br>TD: New Orleans is the most important city when you start talking about jazz, where it started to begin with. The music was in the air and happening in lots of places, but geophysically, New Orleans is a very unique place. The fact that it’s surrounded by water and totally isolated has helped it to sustain its individuality and culture. There are so many elements, the culture, the melting-pot aspect, there was so much music here from so many different places. That’s why the music evolved here as it did. Given that, there’s a tradition of families – the Marsalises, the Jordans, the Batistes. There are a lot of extended families, so that anybody who’s from here is probably related to a musician. (Laughs.) It’s part of the fabric of the whole city, so that if you’re not related, you probably know a lot of musicians. But I think, to answer your question: We’ve all had a chance to play with Professor Longhair. I’ve recorded with Ellis Marsalis. We all take part in this big community. The one thing that really I found exciting and remarkable when I first got here was that you would go to one gig and it might be a wedding. You would go to another and it might be a funk gig at a club, and you would go to another and it would be a straight jazz gig. And you would see some of the same faces on all those gigs. For me that showed how versatile the individual musicians are and how connected they are.<br><br>LE: One of the things I’ve noticed over the last 10-15 years of Jazz fest is how much more interaction there is between all kinds of musicians. You would see someone in a funk group, and then they’d play jazz…<br>TD: Traditional jazz, gospel.<br><br>LE: Lots of one-off combinations to, well, make some money, to entertain people, and for the joy of playing together.<br>TD: That’s one thing about Astral Project. We all do all those gigs. But.. when we come to Astral Project the environment is such that you can play anything. If you play with a rhythm & blues guy, he doesn’t want to hear you play outside the changes, he doesn’t want to hear rhythmic complexities. It has to be at a certain level to be right, but in Astral Project anything is right, anything is okay, and that’s what we’ve all grown to really love about the band.<br><br>LE: That’s how you keep things fresh and interesting for each other.<br>TD: Yeah.<br><br>LE: You teach as well.<br>TD: I’m a professor of saxophone at Loyola University. Steve is head of the jazz program at the University of New Orleans. So I do that a lot, but this year I’m on a sabbatical.<br><br>LE: When you meet with students for the first time, what’s the first thing you tell them about what they need to do to be successful, or to do what they want with their music?<br>TD: Hmm... The fist thing is to learn how to make a beautiful sound. (Laughs.) I’m not talking about a lot of notes, just taking one note and making it sound beautiful. That would be the first thing. After that, that opens a can of worms. After you’re an accomplished musician, after you can technically play the instrument, then you have to decide what you want to play. What kind of music makes you feel good? I tell my students, if somebody called you for a festival or recording session, what ten tunes would represent you as an artist? That’s a big question. And if you’re a composer, that’s great. You really should be a composer, because that’s how you can make some money. If you’re a jazz artist, you are a composer by very nature.<br><br>LE: To change the subject a little bit. People always wonder what artists did during Katrina. The new album, Blue Streak, has parts that are a response to Katrina, just as Big Shot has some tunes that were a response to 9/11.<br>TD: I think artists always reflect their time. Steve is really good about that. We did a whole suite on Big Shot about 9/11. We were on tour right on 9/11 in someplace like Indianapolis, I believe, and Steve’s sister worked in the World Trade Center, so he was freaking out. There was a lot of anguish and trying to get through with phone calls. It was a very heavy time. For Katrina, what’s really amazing is that we all evacuated, but what’s amazing is that none of our houses were flooded. We all came back and there was damage and debris and stuff but we all had our roofs, but no water got into our houses. We also had a tour planned immediately after Katrina so we met in Chicago after not having been home for three or four weeks and everybody evacuated to different parts of the country. It was really emotional.<br><br>LE: You are coming to the Artists' Quarter for the first time. <br>TD: Yes. We’ve been to the Dakota a number of times, but this is our first time at the Artists' Quarter. I’m thinking it might be a better place for people to just listen.<br><br>LE: You’ll be playing stuff from the Blue Streak album. Any other material?<br>TD: Our performing repertoire always includes stuff from all of our CDs. Because on each CD, there’s some... not that any song is better than other cuts on the CD, but some have more longevity in the repertoire. We absolutely do stuff from every one of our CDs.<br><br>LE: You’ll have some for sale there.<br>TD (laughing): Oh yes, the economics of touring.<br><br>LE: Do you have a distribution deal at all?<br>TD: No. The last three projects we’ve done, we’ve done on our own. I’ve talked with a bunch of people who are very prominent artists, and everybody’s thinking about not doing a label, because everything is changing so much.<br><br>LE: We look forward to seeing you. I imagine there will be two sets per night<br>TD: Whatever they want. (Laughs.)<br><br>LE: Whatever the audience screams for?<br>TD: Whatever the club owner wants. (Laughs some more.) I’m a hired hand at that point. We’re really looking forward to coming to Saint Paul.<br><br>By Larry Englund - October 3, 2009<br><br>Ed. note: Larry Englund hosts the weekly radio show "Rhythm and Grooves" for KFAI Radio Without Boundaries. This interview originally aired on Tuesday, September 22, 2009, midway through the band's fall tour in support of its latest CD, Blue Streak.Tony Dagraditag:www.tonydagradi.com,2005:Post/30064762014-06-10T14:39:28-05:002014-08-19T10:26:02-05:00Tony Dagradi Sextet Plays Kind Of BlueOn March 5, 2009, in Roussell Hall at Loyola University in New Orleans, the Tony Dagradi Sextet featuring Jamelle Williams on trumpet, Rex Gregory on alto, Michael Pellera on piano, Roland Guerin on bass and Troy Davis on drums re-created the music from Miles Davis' landmark recording, "Kind Of Blue."<br><br><a href="http://vimeo.com/24836292">Click here</a> to see a Vimeo recording of the event.<br><br><br>Tony Dagradi’s Sextet opened the show on Thursday, March 5th, at Loyola’s beautiful Roussel Performance Hall. The sextet performed the music of Miles Davis’ classic jazz record, Kind of Blue, to great effect. The band consisted of Troy Davis on drums, Rex Gregory on alto sax, Jamelle Williams on Trumpet, Mike Pellara on Piano, Roland Guerin on Acoustic Bass, and Dagradi on Tenor Saxophone. The perfect acoustics in Roussel Hall made the performance an exceptionally good listen for the numerous jazz fans that were gathered to see Brian Blade’s triumphant return to his alma mater, in addition to Dagradi’s presentation of Kind of Blue.<br><br>Troy Davis and Roland Guerin played the rhythm section roles established by the original musicians, Jimmy Cobb (drums) and Paul Chambers (bass) very well, even down to the tiny nuances in their playing. Rex Gregory, wearing his Phil Woods style be-bop hat, looked and played like an old master, nailing the parts established by Cannonball Adderly with an effortless mastery of his horn. Mike Pellara at the piano was channeling Bill Evans’ spirit, especially on the piece Flamenco Sketches, which was a piece that Evans contributed to the original session. Dagradi was on fire, playing John Coltrane’s parts with precision, and soloing with high energy and even a good sense of humor, interacting with the rhythm section in a way that had the whole band tuned in to his ideas, ready to respond. Jamelle Williams was the standout performer of the set, however, playing muted trumpet with a sound that matched Miles’ original tone beautifully, and also improvising his own brilliant ideas when it was his turn to solo.<br><br>Brian Blade took the stage to an audience that was warmed up and ready to hear his creative and innovative set of original music. Before they played a note, Brian went to the microphone on the side of the stage and let everyone know how thrilled he was to be back in New Orleans, and thanked some of the educators and musicians in the audience that helped him along in the beginning of his musical journey. He thanked Ellis Marsalis, Steve Masakowski and a few others in the theater.<br><br>Jon Cowherd sat down at the piano, Melvin Butler got ready to play the tenor saxophone, Roland Guerin came back out to play his acoustic bass with Blade’s group, and Myron Walden, with his very crazy looking hair style and dark sunglasses, brought out his bass clarinet and alto sax to play with the group. Blade sat down behind the drum kit and they began to play. The music was multi dimensional, taking the listener through a roller coaster ride of emotions and feelings. The first piece began with a piano intro that set up a beautiful melody in three-four time. There was a pause in the music where the audience was not sure if it was over or not, and then the band started up again to open up the music for the soloists. As the soloists one by one played through their ideas, Blade supported them and spurred them on with his incredibly soft yet very intense touch. Blade can be explosive as well, but saved that sort of playing for the key moments in the music where that would be most effective.<br><br>At one point, Blade hit the ride cymbal so hard that the stand actually came apart, and he had to put it back together with one hand, while still playing. It was pretty amazing, and there was not a second where you could hear an error. Blade is that good. Even one handed, trying to fix a cymbal stand, he still sounds great. Myron Walden’s bass clarinet playing was amazing, and he had a sound and the ability to express himself on it that is better that anyone else that I have ever heard play the instrument. Blade’s concept is phenomenal, which is why so many greats like Joni Mitchell, Seal, Bob Dylan, and Daniel Lanois have made use of Blade’s prodigious talent. His original music is beautiful and emotional, and the next time he is in town, do yourself a favor and check him out. <br><br>Kevin O’Day<br>March 10, 2009Tony Dagraditag:www.tonydagradi.com,2005:Post/30064732014-06-10T14:37:22-05:002014-08-19T10:26:13-05:00Tony Dagradi Organ TrioIt’d be tough for anyone to possibly enjoy playing their instrument more than drummer Simon Lott does. Watch Lott a few times and you’ll notice that a distinct full-body grinignites even as he approaches the kit. By the time he plays the first note, his face is aglow with rapturous delight that infects all those around him–players and listeners alike.<br>Tonight’s lucky subjects included duo-mate Brian Coogan(organ) and Astral Project’s Tony Dagradi(tenor and soprano sax). The last two times this trio performed the drummer’s throne was occupied by Jason Marsalis, who uses the sparsest drum kit imaginable to create more sound than should be possible. Lott’s playing and personality cast an entirely different vibe over the proceedings, but his taut, push-the-beat feel dovetailed perfectly with Dagradi’s precise and acrobatic style. With a maturity that belies his age, Lott and his solos remained true to the bandleader’s distinct feel.<br><br>Dagradi’s comparatively traditional leanings called for Coogan and Lott to shift their groove a bit from what we’d heard a couple nights earlier (see June 24 review), which they did with ease. These guys have so much fun playing together, as they show their youthful boisterousness with lots of exchanged laughter and a lighthearted way. They traded enthusiastic whoops during each others’ solos, which seemed to loosen up the small and at times restrained audience. Coogan played several extended solos that followed the same principles Lott’s did. They were solid and true to the more straight-ahead roots of the night’s music, yet they were tastefully infused with nuances born of somewhat funkier origins.<br><br>The highlight of the evening, certainly for the band, but also for the always knowledgeable N.O. audience, was a guest appearance by Herlin Riley. The folks at my table buzzed with obvious excitement(high praise indeed from these particularly erudite locals!) as the drummer for The Lincoln Center Jazz Orchestra greeted each member of the band warmly and made his way onto the bandstand. I’m not even going to try to fully describe what I heard. Suffice to say I’ve never heard drums played this way–snare off, use of hands and fingers on cymbals and skins creating unusual resonance, texture and depth. It was an attack of rhythm that was beyond aggressive. We were in the presence of a master. And not only did Coogan and Dagradi meet the challenge, they reveled in this intriguing new playground, exploring all the tantalizing possibilities being laid out. What a great moment to be sitting at Snug!<br><br>When Lott reclaimed his seat not one watt of energy was lost. He not only picked up on the heightened pulse–he pushed it up a couple notches. Dagradi noticed this change immediately and cranked out some of the night’s best stuff. He proceeded to use the waning moments to remind us why he has held his spot at the top of N.O.’s music scene for so long. He’s a great sax player. His tone is unique and beautiful. His technique is as spellbinding as his imagination. I’ve heard him play no less than 15 times this past year and every single solo has left me on the edge of my seat. Channeling the spirits of Coltrane et al in one riff, and rivaling any of the Koz’s and Sanborn’s in the next, he’s always setting the groove, stretching the limits, and making full use of the talented players behind him.<br><br>Sunday’s gig had some high expectations to meet, and I can confirm that they were indeed met….and them some!<br><br>Nerissa Cohen<br>June 26, 2005Tony Dagradi