SOUND PROJECTIONS
AN ONLINE QUARTERLY MUSIC MAGAZINE
EDITOR: KOFI NATAMBU
FALL, 2021
VOLUME TEN NUMBER THREE
NANCY WILSON
Featuring the Musics and Aesthetic Visions of:
NANCY WILSON DONALD HARRISON
(October 2-8)
CHICO FREEMAN
(October 9-15)
BEN WILLIAMS
(October 16-22)
MISSY ELLIOTT
(October 23-29)
SHEMEKIA COPELAND
(October 30-November 5)
VON FREEMAN
(November 6-12)
DAVID BAKER
(November 13-19)
RUTHIE FOSTER
(November 20-26)
VICTORIA SPIVEY
(November 27-December 3)
ANTONIO HART
(December 4-10)
GEORGE ‘HARMONICA’ SMITH
(December 11-17)
JAMISON ROSS
(December 18-24)
https://www.allmusic.com/artist/antonio-hart-mn0000495303/biography
Antonio Hart
(b. September 30, 1968)
Artist Biography by Scott Yanow
An excellent altoist who gained recognition for his work with Roy Hargrove, Antonio Hart studied classical saxophone at the Baltimore School for the Arts for four years. He sat in with Art Blakey's Jazz Messengers, toured with Hargrove for a few years, and in the mid-'90s formed his own group. Hart, who is most influenced by Cannonball Adderley and Gary Bartz, has recorded for Novus with Hargrove, and as a leader on a number of his own CDs.
https://www.allaboutjazz.com/musicians/antonio-hart
Antonio Hart
When Antonio Hart was in ninth grade, the music and art programs were cut out of the public schools. Antonio was devastated because the one thing that made school interesting was taken away from him. Hart had a friend that attended the then new Baltimore School for the Performing Arts, and somehow got Antonio an audition.
Most of the students that attended this school had been playing music all of their lives and had private instruction. This did not stop Antonio because he knew this would be the place for him. The night before the audition, Antonio spent hours on the phone with his friend learning a song from one of his music books. He did the best he could because he really could not read the level of music he was trying to play. The school was a hotel that had been made into one of the best learning institutions in the country. Hart was taken to a room to warm up and then, three teachers came in for the audition. He played his piece ‘Hungarian Dance #5’, then he played some scales for them. The teachers said thank you and that was it. Hart prayed everyday, but he did not think he would get in. One week to the day, he received a transfer letter in the mail; he had been accepted! Hart considers this the beginning of his life as a young man and musician.
This was such a change for Hart because this was a very serious school. The academics were hard and the music courses were very challenging. Hart found himself in summer school because he did not cut it that first year, but that was the only summer he went to summer school. After that adjustment period, Hart started to grow very fast. He gives much credit to his private teacher Chris Ford. ‘Mr. Ford took me from the beginning to a level much higher than the average high school student.’ At the school, Hart played a lot a classical music, but started to like Jazz. He felt more of a connection with Jazz because of the people he saw playing it and the chance to improvise.
Hart’s real study of Jazz began at the Berklee College of Music in Boston. There, he studied with Bill Pierce, Andy McGhee, and Joe Viola. The three teachers gave him the foundation he needed to develop into a professional musician. Hart spent many hours in the library listening to all his favorite musicians, and practicing and playing as much as he could. There were also many late hours in the practice room. Because of the lessons learned at the School for the Arts, Hart really thought it was important to have a balance between music and academia, so in his sophomore year he became a Music Education Major. These courses added other challenges that inspired Hart.
He made many friends at Berklee, but the most important was Roy Hargrove. They spent three years touring the world and recording Hargrove’s first three records. Hart considers Hargrove to be his brother in life and music. He even used Hargrove on his first recording ‘For the First Time.’
Hart wanted to continue his education and study from some true masters of Jazz, so during those first few years on the road, he also worked on a Masters Degree at Queens College. There he had the opportunity to learn from the great Jimmy Heath and Donald Byrd. Hart felt blessed and honored when Mr. Heath produced his second recording ‘Don’t You Know I Care.’
His 1997 release, ‘Here I Stand’ Impulse records, earned Hart a 1997 Grammy nomination for ‘Best Jazz Instrumental Solo.’ He has also been in much demand as a guest on over 100 recordings.
Since then, Hart has recorded eight CDs as a leader. The latest, ‘Blessings” JLP Jazz Legacy productions.
Antonio Hart
Antonio Hart (born September 30, 1968) is a jazz alto saxophonist. He attended the Baltimore School for the Arts, studied with Andy McGhee at Berklee College of Music, and has a master's degree from Queens College, City University of New York. His initial training was classical, but he switched to jazz in college.[1] He gained recognition for his work with Roy Hargrove.[2]
Hart is currently serving as a full-time professor of jazz studies in Aaron Copland School of Music at Queens College City University of New York.
Hart is a member of the Sigma chapter of Alpha Phi Alpha fraternity [3]
Discography
As leader
- 1991: For the First Time (Novus)
- 1992: Don't You Know I Care with Gary Bartz (Novus)
- 1993: For Cannonball and Woody (Novus)
- 1994: Tokyo Sessions with Roy Hargrove (Novus)
- 1995: It's All Good (Novus)
- 1996: Here I Stand (Impulse!/GRP)
- 1996: Alto Summit (Milestone) with Phil Woods, Vincent Herring, Reuben Rogers
- 2001: Ama Tu Sonrisa (Enja)
- 2004: All We Need (Downtown Sound)
- 2015: Blessing (Jazz Legacy)
As sideman
With Rabih Abou-Khalil
- The Cactus of Knowledge (Enja, 2001)
With Dee Dee Bridgewater
- This Is New (2002)
With Terence Blanchard
- Simply Stated (1992)
With Robin Eubanks
- Mental Images (JMT, 1994)
With Dizzy Gillespie
- Bird Songs: The Final Recordings (Telarc, 1992)
- To Bird with Love (Telarc, 1992)
With Roy Hargrove
- Diamond in the Rough (1989)
- Public Eye (1991)
- The Vibe (1992)
With Dave Holland
- What Goes Around (2002)
- Pass It On (2008)
- Pathways (2011)
With Wallace Roney
- Crunchin' (Muse, 1993)
With Cecil Brooks III
- Smokin' Jazz (Muse, 1993)
With McCoy Tyner
- Prelude and Sonata (1995)
With Gerald Wilson
- Monterey Moods (Mack Avenue, 2007)
- Detroit (Mack Avenue, 2009)
- Legacy (Mack Avenue, 2011)
https://www.mixcloud.com/bixxlixx/liner-notes-with-david
-bixler-season-3-episode-3-antonio-hart/
https://occhimagazine.com/in-conversation-with-saxophonist-antonio-hart/
In Conversation with Saxophonist Antonio Hart
Occhimagazine
If you want to learn the best information, always go to the elders. It’s something I’ve always tried to do and every time I do, I always learn something new and this was no exception. I had the privilege of speaking with the legendary Antonio Hart.
His 1997 release, ‘Here I Stand’ Impulse records, earned Hart a 1997 Grammy nomination for ‘Best Jazz Instrumental Solo’. He has also been in much demand as a guest on over 100 recordings. Since then, Hart has recorded eight CDs as a leader.
To label him as just an amazing saxophonist and musician would not encompass his entire essence so I think it’s best to just say he is an amazing human being! From his early days in Baltimore to making his mark in the big apple and his personal growth through his love for martial arts, he’s had quite the journey thus far and he’s still going strong. And the amount of knowledge dropped in this interview is not to be missed so be sure to check it out!!
For further information visit his website https://antoniohartmusic.com
Saxophonist Antonio Hart has long been recognized as one of the most talented instrumentalists of his generation. Occhi's Darryl Yokley spoke to him about his music, career & more:
https://eng.hotjazz.co.il/portfolio/antonio-hart/
Antonio Hart
Antonio Hart- Saxophone
Antonio Hart has been long recognized as one of the most talented instrumentalists of his generation. In recent years he has been recognized as an important jazz educator. In his 20 years as a professional musician he has performed and recorded with many jazz greats from Dizzy Gillespie, Roy Hargrove, Nancy Wilson, Nat Adderley, and McCoy Tyner to Dave Holland. Hart’s study of Jazz began at the Berklee College of Music in Boston. There, he studied with Bill Pierce, Andy McGhee and Joe Viola. The three teachers gave him the foundation he needed to develop into a professional musician. Because of the lessons learned at the Baltimore School for the Arts, Hart really thought it was important to have a balance between music and academia, so in his sophomore year he became a Music Education Major. He made many friends at Berklee, but the most important was Roy Hargrove. They spent three years touring the world and recording Hargrove’s first three records. Hart considers Hargrove to be his brother in life and music. He even used Hargrove on his first recording “For the First Time”. After graduating from Berklee College of Music, Hart also worked on a Master’s Degree at Queens College. There he had the opportunity to learn from the great Jimmy Heath and Donald Byrd. Hart felt blessed and honored when Mr. Heath produced his second recording “Don’t You Know I Care.” His 1997 release, ‘Here I Stand’ Impulse records, earned Hart a 1997 Grammy nomination for “Best Jazz Instrumental Solo’ He has also been in much demand as a guest on over 100 recordings, and seven CDs as a leader. The latest, ‘All we Need’ Chiaroscuro Records. After 12 years at Queens College Hart was promoted to Full Professor. Hart also maintains an extensive performance schedule and continues to conduct workshops and clinics throughout the United States, Europe and Asia. He feels very blessed to have the balance of teaching, as well as, traveling around the world. In his off time, he practices martial arts, and listens to other styles of music for inspiration. Hart is constantly trying to honor his many teachers by continuing to study music and teach to the best of his ability.
When Antonio Hart was in ninth grade, the music and art programs were cut out of the public schools. Antonio was devastated because the one thing that made school interesting was taken away from him. Hart had a friend that attended the then new Baltimore School for the Performing Arts, and somehow got Antonio an audition.
Most of the students that attended this school had been playing music all of their lives and had private instruction. This did not stop Antonio because he knew this would be the place for him. The night before the audition, Antonio spent hours on the phone with his friend learning a song from one of his music books. He did the best he could because he really could not read the level of music he was trying to play. The school was a hotel that had been made into one of the best learning institutions in the country. Hart was taken to a room to warm up and then, three teachers came in for the audition. He played his piece ‘Hungarian Dance #5’, then he played some scales for them. The teachers said thank you and that was it. Hart prayed everyday, but he did not think he would get in. One week to the day, he received a transfer letter in the mail; he had been accepted! Hart considers this the beginning of his life as a young man and musician.
This was such a change for Hart because this was a very serious school. The academics were hard and the music courses were very challenging. Hart found himself in summer school because he did not cut it that first year, but that was the only summer he went to summer school. After that adjustment period, Hart started to grow very fast. He gives much credit to his private teacher Chris Ford. ‘Mr. Ford took me from the beginning to a level much higher than the average high school student.’ At the school, Hart played a lot a classical music, but started to like Jazz. He felt more of a connection with Jazz because of the people he saw playing it and the chance to improvise.
Hart’s real study of Jazz began at the Berklee College of Music in Boston. There, he studied with Bill Pierce, Andy McGhee, and Joe Viola. The three teachers gave him the foundation he needed to develop into a professional musician. Hart spent many hours in the library listening to all his favorite musicians, and practicing and playing as much as he could. There were also many late hours in the practice room. Because of the lessons learned at the School for the Arts, Hart really thought it was important to have a balance between music and academia, so in his sophomore year he became a Music Education Major. These courses added other challenges that inspired Hart.
He made many friends at Berklee, but the most important was Roy Hargrove. They spent three years touring the world and recording Hargrove’s first three records. Hart considers Hargrove to be his brother in life and music. He even used Hargrove on his first recording ‘For the First Time.’
Hart wanted to continue his education and study from some true masters of Jazz, so during those first few years on the road, he also worked on a Masters Degree at Queens College. There he had the opportunity to learn from the great Jimmy Heath and Donald Byrd. Hart felt blessed and honored when Mr. Heath produced his second recording ‘Don’t You Know I Care.’
His 1997 release, ‘Here I Stand’ Impulse records, earned Hart a 1997 Grammy nomination for ‘Best Jazz Instrumental Solo.’ He has also been in much demand as a guest on over 100 recordings.
Since then, Hart has recorded eight CDs as a leader. The latest, ‘Blessings” JLP Jazz Legacy productions.
Hart balances his time as a full-time tenured Professor at The Aaron Copland school of Music, Queens College, as well as, traveling on the road with his band, The Dave Holland Big band, and The Dizzy Gillespie Big band. In his off time, he likes to practice martial arts. And listen to other styles of music for inspiration. He is constantly trying to get to higher levels on his horn and in his writing.
https://antoniohartmusic.com/educator/
EDUCATOR
8/8/2018
MUSIC IS LIFE AND LIFE IS MUSIC!
Master Jimmy Heath
My work as a wind instrument player has taken many adventurous turns over the years, but one of my main tasks had been to work diligently at making myself familiar with as much of the History of Jazz as possible. One area of study that I continue to put a lot of time into is the history of the alto saxophone, my primary instrument. To really understand the legacy of the alto saxophone I had to go back as far as I could to study alto saxophone masters. Obviously, I had to study Johnny Hodges, Benny Carter, Marshall Royal, Tab Smith, Earl Bostic, Charlie Parker, etc. This knowledge of history has aided in my understanding of the evolution of the alto saxophone in Jazz. As part of my study, I’ve transcribed solos, read biographies, listened to recordings, and watched videos. This detailed study taught me invaluable lessons in the way the instrument should be approached. Now, I’ve used this knowledge to work on the development of my personal approach to play the saxophone and teaching my students.
Through the course of my career, my performance has been realized through the opportunity to play in bands with some true masters in Jazz. The Duke Ellington Big Band, The Mingus Big Band, The Dizzy Gillespie Big Band, The Arturo O’Farrell Big Band, The Gerald Wilson Big Band, and The two-time Grammy-winning Dave Holland Big Band. In The Dizzy Gillespie Big Band, I’ve had the opportunity to sit in the second alto saxophone chair next to the likes of Jerome Richardson, Jerry Dodgion, and the Great Frank Wess. These teachers gave me a wealth of knowledge that I know could not be learned in school. I learned how to breathe through the instrument, how to hold it correctly, correct posture, and how to produce a good sound with all the textures that are available to me. After 13 years in this band I’ve graduated to the first chair thanks to my teachers. These experiences were important to me because the beginning of my career was in smaller ensembles, and historically the opposite was the norm: almost every soloist that we know in Jazz started out his or her career in the big band. This was where you had the opportunity to sit next to a master night after night. I’ve made it a point to be in these ensembles to get the knowledge directly from the masters, and not rely only on books. Now, my approach on the saxophone is a combination of all that I’ve learned in these bands, developing an identifiable sound, a strong rhythmic concept, and a personal approach to harmony.
While studying at Queens College I learned
orchestration and arranging techniques that were used on several of my
solo recordings. Also, while teaching at Queens College I took Professor
Mossman’s Arranging class to learn new techniques. Shortly thereafter I
was commissioned to write five arrangements (four original compositions
and an arrangement of the Jazz standard, “Stars Fell over Alabama,” for
the North Illinois University Jazz Program Big Band. I continue to get
invitations from all over the world to perform, record, and give
masterclasses. The reason this is happening is because of the reputation
I’ve earned over the last 20 years, the body of work I’ve created, my
study of the Jazz tradition, and my passion for this art. I get quite a
few e-mails and calls from students and professionals around the world
asking for advice with equipment for the saxophone, recording
techniques, studying at Queens College, and what it takes to be a
successful musician. I also look forward to exploring new avenues,
including Gospel and contemporary music, publishing, and technology.
Although performing and touring have been the primary focus of my career, I have deeply engaged in education, which has become an important part of my career. Teaching at Queens College has allowed me to become a more effective musician because I hear students all day long; therefore, my sensitivity as a player is heightened. It is a constant challenge to guide my students in three short semesters of graduate study. While I certainly benefit from my own degree in music education, nothing prepares you totally for what you encounter in the classroom. An effective teacher must be the master of the material, but it is always a challenge to present the material in an effective and engaging manner, to offer useful and instructive criticism, and to be prepared to improvise teaching strategy when the situation calls for it. My experience teaching at Queens has been one of self-discovery and growth, which I have enjoyed. I expect the experience will continue.
All of my experience as a performer, recording artist, and composer directly inform my teaching. My experience over the years allows me to give my students direct contact with someone that has contributed to the Jazz community while continuing to be an active member of it. Also, the theories and techniques I teach to my students are drawn from years of working them out on the bandstand. Furthermore, as a graduate of the program, I feel a responsibility to help the program to prosper and continue the tradition that Professor Jimmy Heath started.
I have taught a wide range of courses at Queens College: Jazz Improvisation; Combo Workshop; Jazz History; Saxophone Quartet; Private lessons and Jazz Musicianship. This varied curriculum has provided me with the opportunity to think through the many facets of my life as a performing Jazz musician and communicate it to the next generation. I have learned much from my experience, and from my students and look forward to our continued growth together. It has also been a great pleasure to have such an excellent colleague in Prof. Michael Mossman. I look forward to working with him to develop and refine our program. In particular, I look forward to the possibility of expanding and growing the Jazz faculty to better serve our curriculum and our students.
https://jazztimes.com/archives/antonio-hart-community-music/
Home > JT Archives > Antonio Hart: Community Music
Antonio Hart: Community Music
After
an exhausting three-week European tour with bassist and composer Dave
Holland’s octet, Antonio Hart is back at home, at least for a New York
minute.
As Hart eats breakfast at Mike’s, a small, overcrowded coffeehouse on
the corner of Hall and Dekalb in Fort Greene, Brooklyn, just walking
distance from his home, Hart gives an emphatic “totally” when asked if
he’s jet-lagged.
He has little time to rest today, though; later this afternoon he has to
go up to Manhattan’s Upper West Side and play with trumpeter Dave
Douglas at “Wall-to-Wall Miles Davis,” Symphony Space’s 12-hour tribute
to the Prince of Darkness. But for now, the alto saxophonist, composer
and recent Queens College visiting artist-professor is reveling in his
artsy neighborhood as various friends come up to greet him and catch up
on what he’s been doing.
It seems as though Hart went underground after his scintillating 1997
Grammy-nominated album Here I Stand (Impulse!) and, in a sense, he did.
“[I’ve been] hanging out and trying to be inspired by other
things-anything that breathes life; people and different cultures and
the way they approached music. I wanted to be influenced by just about
anything that wasn’t all about going to jazz clubs. That gets boring
after a while, even though I had to do that to survive.
“I’ve been doing a lot of martial arts lately,” Hart continues. “I’ve
been reading a lot of books like Sun Tzu’s The Art of War and
Paramahansa Yogananda’s Autobiography of a Yogi. I’m doing anything
that’s going to better my mind. I try to find a balance, because I
find that, out here, it’s hard to be balanced when there are so many
different kinds of energy coming at you at the same time. So you got to
find a way to coexist in this thing without being thrown off your path.
“That’s part of the reason why I stopped recording and pulled myself
away from the scene, because I felt unbalanced. I couldn’t deal with
people’s attitudes or their approaches to music. I couldn’t deal with
my own approach to music. The stuff that I was creating, I was kind of
bored with it. I thought I needed to study, and take some time off and
relax, then start all over again. After I left Impulse! I didn’t want
to just sign on the dotted line where they just want me to be this
one-dimensional artist, because that’s not who I am. So I took some
time off, started traveling and going to different places and listened
to different kinds of musics.”
Hart’s four-year sabbatical from recording as a leader has certainly
paid off as evident from his exuberant new CD, Ama Tu Sonrisa (Enja).
The album is an ambitious and adventuresome reconciliation of
Afro-Cuban, Middle Eastern, and African music with post-Motown bop and
funk, but it’s also Hart’s most emotionally intimate and
comfortable-sounding album yet.
“Everything before was more anal,” reflects Hart on his earlier albums.
“Everything had to be a particular way. I was still straddling the
fence, trying to play not so much traditional jazz, but still sticking
along those lines. I wasn’t experimenting with it as much, and going as
far as I could. That’s when I hit that brick wall. When you’re touring
all the time, you don’t get a chance to practice; you don’t get a chance
to think. When you’re traveling from hotel to hotel, back and forth,
from here to there, you don’t get a chance to really focus. It was time
for me to really focus and travel around the world, without having to
play. I was traveling to actually feel the place and feel what’s going
on there, and try to internalize some of those things.”
Ama Tu Sonrisa sounds like a collection of musical postcards from Hart’s
visits around the world. Complemented by an impressive lineup that
includes vibraphonist Steve Nelson, pianist Kevin Hays, drummers Camille
Gainer and Nasheet Waits, bassist Richie Goods and percussionists
Renato Thoms, Rolando Morales and Kahlil Kwame-Bell, Hart positions
himself at the center of a multi-culti community, where once-conjoined
continents drift back together. Hart’s intriguing “Distant Cousins”
exemplifies this global unification: first, his soprano-saxophone
playing wafts over a hypnotic Middle Eastern groove, then his serpentine
melody spirals up and down a festive Latin groove.
“Every time I go around the world, I find something that links to
Africa,” Hart says. “When I went to Israel, I bought a lot of music. I
was also checking out a lot of African music and klezmer and Arabic
music. I found a lot of rhythms sounded similar to ones in Africa. I
wanted to show that even though Africa is the home base and that we
might be in the United States or Dominican Republic, we are still
connected. We are all family still. It’s a combination of the
Afro-Cuban and the feeling of being in the Sahara.”
Other rhythmic experiments are the joyous opening track, “For Amadou,”
that finds Hart’s citrus-toned alto dancing gleefully over the
irrepressibly funky djembe and conga polyrhythms; the picturesque
“Forward Motion,” where Hart and company craft an intoxicating groove
that sounds both Brazilian and M-BASE-ed; and the celebratory “El
Professor,” which features the sisterly vocal choruses of Lenora Helm
and Claudia Acuña.
Throughout the radiant Ama Tu Sonrisa, Hart keenly balances complex
polyrhythms and detailed textures with simpatico, emotionally poignant
lyricism in his own playing. He remains an exhilarating improviser, but
now Hart’s solos aren’t nearly as forceful, prolix and explicitly
virtuosic as they were before. His deft technique sounds like a means
to an end as opposed to being the goal. “My approach to improvisation
is becoming more internal,” says Hart. “Before, I was really trying to
learn how to get inside chord changes, how to connect lines-that’s a
part of it still-but now it’s more about communication. It’s about how I
can communicate with the band, and let them know what I’m trying to
say.”
If Hart’s eclectic new album sounds both witty yet gracefully natural,
his demeanor suggests that as well. He’s definitely comfortable in his
own skin. Now donning a mane of dreadlocks, he exudes a relaxed
bohemian vibe that’s glowing but never brashly glaring. He still looks
professorial as ever, thanks to his signature highly fashionable
eyewear; and when it’s time to really dress up, Hart can easily pass as a
Wall Street broker. But on this dreary late March Saturday morning,
Hart’s casual dress is more inviting than imposing. He can be
understandably guarded and matter-of-fact when discussing the nastiness
of the music industry. In turn, he can be overflowing with passion and
knowledge when talking about the innovations of some of his musical
heroes like Cannonball Adderley, Grover Washington Jr., Charlie Parker,
Gary Bartz and Jimmy Heath.
Musicians who have worked with Hart are equally passionate about his playing.
“His spirit has an intensity that’s very focused,” comments Dave Holland
on Hart. “He has a great spirit in his playing; it’s also reflective
in his personality. He gets a wonderful sound, which is one of the
first things that you notice about a player. He has a lot of
individuality.”
Hart and Holland have been working on and off for about two years. Hart
started working with Holland’s quintet; last year he performed with
Holland’s 13-piece big band, which debuted at Montreal as a part of
their Invitation series. He’ll be featured on Holland’s upcoming
big-band release, What Goes Around, scheduled for late spring 2002.
“His music is honest,” says Hart of Holland. “It has a definite
approach and focus. It has freedom and creativity. He’s not trying to
impress anybody with any compositional techniques; he’s just writing his
music. And then the people he chooses to play his music are a thrill,
too-Steve Nelson, Billy Kilson, Robin Eubanks, Chris Potter-to be around
those creative musicians is inspiring.”
For much of the past decade, Hart has established himself as a top-notch
alto saxophonist. He grew up in Baltimore, Md., and attended Baltimore
School for the Performing Arts. Hart continued his music education at
Boston’s Berklee College of Music, where he studied with Billy Pierce,
Andy McGhee and Joe Viola. It was there that he met trumpeter Roy
Hargrove, with whom he later spent three years on the road. Hart
returned the favor and featured Hargrove on his 1991 debut, For the
First Time (Novus).
Traveling on the road with Hargrove and the rest of the young lions and
mapping out his own solo career didn’t deter Hart from gaining his
bachelor’s in music education. He continued his formal education at
Queens College, where he studied with Jimmy Heath and Donald Byrd, and
earned his master’s degree. Now closing the collegiate circle, Hart
teaches graduate saxophone students the art of improvisation at Queens
College. One of the lessons he imparts to his students is the necessity
of feeling the music; and when he notices a barrier between the music
and musician, he advises the students to go out dancing.
“I think it’s very important,” claims Hart. “I think that if you’re
going to be a musician, you should be able to dance, so you can actually
feel the music move around you. When I started teaching at Queens
College, I noticed that a lot of students could play fast, but their
improvisations didn’t move. I told them all to go out dancing, so they
could learn how to feel music. Once they did that, they did much
better.”
Feeling is something that Ama Tu Sonrisa emits in abundance. Unlike
many other world-beat-informed jazz records, Hart’s music doesn’t sound
as if he’s trying to do others’ cultures; it sounds as if he’s immersed
himself in their cultures and subsequently assimilated them into his own
aesthetic. His recent visit to Cuba had a profound effect on the
infectiousness of his rhythms and the unhinged emotional sweep of his
playing.
“Going over to Cuba and hanging out with the musicians, I just felt like
there was something very sincere, something that was still grass roots
and something that was still connected to the area that they were living
in,” reflects Hart. “That’s why I gravitated to it. The music is
African, so naturally I’m going to be intrigued by it. The musicians
played their soul and they gave up what they were really feeling to the
audience. And every time they performed, they performed like it was the
last time. When I go out to a lot of jazz concerts, a lot of musicians
sound like they are just going through the motions to get paid. And I
understand that economically, but the music suffers. You hear that in
the music. It’s about me, me, me; instead of being like we are trying
to be together with this music.”
Artistic communion is paramount in Hart’s musical philosophy. It’s a
quality that manifests itself often in his personal life as well as
professionally as he tries to establish family bonds with his ensembles.
“When I was on the road with Dave Holland’s octet for
three-and-a-half weeks, I was with them more than I’m with my blood
family. It’s got to be a feeling of being with a family to just exist.
The more that you feel that these are your brothers, the more that you
can play together musically and just hang out,” says Hart.
“I hung out with Chris Potter and I never really knew Chris Potter. We
ate dinner together, we ate lunch and just hung out. I made a really
good bond with him; and it’s the same thing with Robin Eubanks and Dave.
They are like extended family. I want to take those kinds of
experiences and pass them on to my band and to some of the younger
musicians. We got to get back to that-loving and respecting each
other, because nobody is doing anything that special, where they need to
be out there all by themselves. It’s a community.”
Gearbox
Yanagisawa alto and soprano saxophones; Haynes flute; Vandoren Java #3 reeds for alto and Vandoren Traditional 21/2 for soprano.
Listening Pleasures
Miles Davis: The Complete Live at the Plugged Nickel (Columbia)
Bob Marley: Natural Mystic (Island)
Buckshot LeFonque: Music Evolution (Columbia)
https://www.kennedy-center.org/artists/h/ha-hn/antonio-hart/
Antonio Hart
Professor
Fields of Study:
Saxophone
Degrees and Studies:
MA, Queens College
Biographical Information:
Through the course of my career my performing has been realized
through the opportunity to play in bands with some true masters in
Jazz. The Duke Ellington Big Band, The Mingus Big Band, The Dizzy
Gillespie Big Band, The Arturo O'Farrell Big Band, The Gerald Wilson
Big Band, and The two-time Grammy winning Dave Holland Big Band. In
The Dizzy Gillespie Big Band I've had the opportunity to sit in the
second alto saxophone chair next to the likes of Jerome Richardson,
Jerry Dodgion, and the Great Frank Wess. These teachers gave me a
wealth of knowledge that I know could not be learned in school. I
learned how to breathe through the instrument, how to hold it
correctly, correct posture, and how to produce a good sound with all
the textures that are available to me. After 13 years in this band
I've graduated to the first chair thanks to my teachers. These
experiences were important to me because the beginning of my career
was in smaller ensembles, and historically the opposite was the norm:
almost every soloist that we know in Jazz started out his or her
career in the big band. This was where you had the opportunity to sit
next to a master night after night. I've made it a point to be in
these ensembles to get the knowledge directly from the masters, and
not rely only on books. Now, my approach on the saxophone is a
combination of all that I've learned in these bands, developing an
identifiable sound, a strong rhythmic concept, and a personal approach
to harmony.
While studying at Queens College I learned orchestration and
arranging techniques that were used on several of my solo recordings.
Also, while teaching at Queens College I took Professor Mossman's
Arranging class to learn new techniques. Shortly thereafter I was
commissioned to write five arrangements (four original compositions
and an arrangement of the Jazz standard, "Stars Fell over Alabama,"
for the North Illinois University Jazz Program Big Band. I continue
to get invitations from all over the world to perform, record, and
give master classes. The reason this is happening is because of the
reputation I've earned over the last 17 years, the body of work I've
created, my study of the Jazz tradition, and my passion for this art. I
get quite a few e-mails, and calls from students and professionals
around the world asking for advice with equipment for the saxophone,
recording techniques, studying at Queens College, and what it takes to
be a successful musician. I also look forward to exploring new
avenues, including Gospel and contemporary music, publishing and
technology.
Although performing and touring has been the primary focus of my
career, I have deeply engaged in education, which has become an
important part of my career. Teaching at Queens College has allowed me
to become a more effective musician because I hear students all day
long; therefore, my sensitivity as a player is heightened. It is a
constant challenge to guide my students in three short semesters of
graduate study. While I certainly benefit from my own degree in music
education, nothing prepares you totally for what you encounter in the
classroom. An effective teacher must be the master of the material,
but it is always a challenge to present the material in an effective
and engaging manner, to offer useful and instructive criticism and to
be prepared to improvise teaching strategy when the situation calls
for it. My experience teaching at Queens has been one of
self-discovery and growth, which I have enjoyed. I expect the
experience will continue.
All of my experience as a performer, recording artist, and
composer directly inform my teaching. My experience over the years
allows me to give my student's direct contact with someone that has
contributed to the Jazz community while continuing to be an active
member of it. Also, the theories and techniques I teach to my students
are drawn from years of working them out on the bandstand.
Furthermore, as a graduate of the program I feel a responsibility to
help the program to prosper, and continue the tradition that Professor
Jimmy Heath started.
I have taught a wide range of courses at Queens College: Jazz
Improvisation; Combo Workshop; Jazz History; Saxophone Quartet; Private
lessons and Jazz Musicianship. This varied curriculum has provided me
with the opportunity to think through the many facets of my life as a
performing Jazz musician and communicate it to the next generation. I
have learned much from my experience, and from my students and look
forward to our continued growth together. It has also been a great
pleasure to have such an excellent colleague in Prof. Michael Mossman. I
look forward to working with him to develop and refine our program.
In particular, I look forward to the possibility of expanding and
growing the Jazz faculty to better serve our curriculum and our
students.
Office:
Music Building 215
Phone:
718-997-3809
Email:
antonio.hart@qc.cuny.edu
Website:
http://www.antoniohart.com
The Hart of the matter: Jazz saxophonist shares passion for music at BGSU
by DAVID DUPONT
BG Independent News
When Antonio Hart first took the stage at Bowling Green State
University, he had some stern advice for the music students in the
audience. Ask me questions. Citing his experience playing with some of
the greats in jazz, he said students needed to take advantage of having
him among them for a while.
Then he played demonstrating the mastery students could aspire to.
That was Wednesday night when Hart performed with the jazz faculty,
arriving shortly before from Thailand. He was in town through Thursday
before leaving on an early morning flight back to New York before
heading back east to China.
Hart is a man on the move, squeezing as much as he can during his
sabbatical from Queens College in New York City where he teaches.
Antonio Hart coaches student chamber jazz ensemble at BGSU Thursday.
Still when Adonai Henderson took him up on his offer to ask a question Thursday after a coaching session with small bands, it was as if time stopped. As the crew reset the Kobacker stage for the Lab I rehearsal and concert, Hart sat at the piano and gave Henderson a lesson.
During the session before, Hart had drilled the quintet Henderson was a
part of on the proper execution of the melody to Charlie Parker’s
“Scrapple from the Apple.” It’s a bebop standard many fans and even
players may take for granted. Something to set the stage before the
improvisation.
But Hart brought such notions up short. It’s the beginning and end of a
tune that stays with the listener. He spent a good half hour with group,
on how to articulate each phrase of the melody, giving proper weight
the key notes, gradually playing louder to the point where two high
notes pop out. Now after the session, Henderson approached Hart. He
wasn’t exactly sure he knew how to phrase the melody. Hart had him go
over it, and then do a scale exercise to work on his point. They may
very well have been in a private studio, not a concert hall with a dozen
or so people working and milling about.
Adonai Henderson gets impromptu lesson from Antonio Hart.
This is what drew Henderson, from Cleveland, to study jazz, the sense
of “being so thoroughly inside the music.” And Hart gave him a new way
to realize that feeling.
Hart knows the importance of education. He grew up in inner city
Baltimore. Just as he was getting ready to go to high school, art and
music were cut from the curriculum. “That was going to be a drag for me
because that was the only reason I dug school,” Hart said in an
interview, “because it wasn’t happening education-wise.”
He had a friend who was attending the Baltimore School for the Arts and
helped him get an audition. He got in though he was aware of
deficiencies in his training. “I was very behind academically,” he said.
“There’s stuff still I have to learn.”
Hart said he sometimes he gets frustrated with the college students he
teaches. “Sometimes I get upset with them because they have all these
facilities and materials that I didn’t have, and they don’t practice,
they don’t take advantage of them.” He has to step back and realize
“everybody doesn’t have the same intensity I have.” Still he wants them
to see how passionate he is about the music.
That passion was evident during his two public performances on campus. On Wednesday he played with the jazz faculty. Sometimes even he seemed surprised by his own playing, stopping to laugh. Whether he was playing an incendiary swing tune or a ballad, Hart was all in. And he wasn’t satisfied unless he could pull his listeners in as well.
For the closing blues, he divided the audience in Bryan Recital Hall
into three, akin to the trombone, saxophone and trumpet sections of a
swing band. Each section got a part to sing. The exercise was a
throwback to the head arrangements the Count Basie Band would put
together on the stand, arrangements that evolved into some of the great
swing tunes.
Thursday night’s concert with Lab Band I, conducted by Jeff Halsey, also
closed with a blues. Not a coincidence. The blues is music listeners
can connect to emotionally. In rehearsing the chart early in the day
with the big band, Hart told the musicians “you’ve got to imagine people
dancing in front of you.” He brings his Queens College students to
African-American churches so they get the feel of the physicality of the
music.
In schools students learn what notes to play, “the math of it.”
“But they don’t understand the human element, where it came from.”
Hart has sought out his elders to learn from them. That includes Frank
Wess, long-time saxophonist and flutist with the Count Basie Band. Hart
recalled visiting Frank Wess shortly before his death. Wess was hardly
in condition to play, but still they jammed together for two hours. “The
passion that came out of that horn is something that was haunting. To
me just to see that at the end he has this thing. Those notes meant
something, a whole different meaning.”
After Hart graduated from Berklee College of Music in Boston, he went to
Queens College to get a master’s degree specifically to study with the
master saxophonist, composer and arranger Jimmy Heath. They became
close. Heath is a father figure to Hart. He goes over to the elder
musician’s home just to sit and watch a ballgame (though Hart said he
has no interest in spectator sports) and talk. He was overwhelmed during
one visit when Heath brought him back into his studio to show him a
chart he was working on. It was for Hart, and the title was “Like a
Son.” Hart said he almost cried when he saw that. Hart recorded the
composition on Heath’s “Turn Up the Heath” session. In the liner notes
the composer said Hart played the tune with “clarity, energy and
consistency of spirit.” Qualities evident as well when, all smiles, when
he played it with the BGSU Lab Band Thursday.
That’s the spirit he wants young players to catch. He said he’s found it
in the singers and saxophonists he heard during his trip to Thailand.
“You could see them surrender to the music. I was totally blown away.”
That’s the spirit and the connection to “the rhythm on the street”
that’s needed to engage contemporary audiences. That’s the charge for
younger players. At 47 he considers himself one of those musicians,
though one in transition. “I had the band out for many years. I just got
jaded. I’ve been a sideman for many years. Now I’m at the point that
it’s time for me to do my own thing, but I don’t know what my own thing
is yet.”
That’s part of the reason for going to Thailand and China, where he’ll
perform and engage in his love of martial arts and tea. He wants “to get
away from this county, separate, just mediate and do things that maybe
open me up and so I can figure where I want to go next musically.”
