Sound Advice by Pat Patrick and The Baritone Saxophone Retinue

'Of all the saxophones, it is our opinion that the one with the most distinctive sound, warmth and range that can reach into that of other saxophones, is the baritone sax.'

Years ago the early so called Jazz Bands very frequently used two baritones and a bass saxophone or two along with the many other woodwind instruments that were played by the members of their reed sections. Of all the saxophones used in these bands, it is our opinion that the one with the most distinctive sound, warmth and range that can reach into that of the other saxophones, is the baritone sax. Yet, it has had less exposure and popularity than the others. However, it is the sax that ties the others together in the making of a really fine reed section of a band, as witnessed in the Duke Ellington Orchestra. We cite the Duke’s orchestra because it has been through the innovations of his writing for his reeds, that an institution of reed section playing has developed and is widely adhered to by the bands of today.

Perhaps the instrument might have had greater popularity among young musicians, had it not been for its imposing size and weight. There is something to be admired about a young man’s incentive and determination when you see him tackle the baritone for any length of time. Furthermore, it is a fitting testament of togetherness that the man who represents the epitome, the pioneer explorer/exponent of the baritone saxophone, Harry Carney, was a part of the Ellington sax section almost since its beginning. He was a dominant figure on the instrument, being recognized as such through out the world. So with the formation of the Baritone Saxophone Retinue, it is envisioned that this concentration on the pure sound of the instrument will focus new attention and establish a better image for this very unique member of the saxophone family.

PAT PATRICK
To describe the phenomenal musical background of musician, composer, arranger “Pat” Patrick could fill several pages. His versatility combined with a distinctly individual sound has enhanced groups led by Erskine Hawkins, Sun Ra, Leon Thomas, Cab Calloway, Earl Hines, Horace Henderson, James Moody, Cootie Williams, Duke Ellington and Thelonius Monk to mention a few. His musical education includes study under Captain Walter Dyett at Du Sable High, Willy Randall of the original Earl Hines Band, Clark Terry and Wilson Jr. College in Chicago. Pat is the winner of the Downbeat TDWR (Talent Deserving of Wider Recognition) 1971 critics poll and fifth in the Downbeat “Established Talent” critics poll in 1972. Honours in the Popular Readers poll are also to his credit. Not only has he had several of his compositions recorded, but has composed music for a number of plays and television. He has recorded with Sun Ra, James Moody, Quincy Jones, Mongo Santamaria, Olatunji and John Coltrane among others. Pat Patrick is co-founder of the Baritone Saxophone Retinue.

As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognised. As well holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk and John Coltrane, with whom he appeared on Africa/Brass. But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play, Jazz in Silhouette and Nubians of Plutonia, among dozens of others.

As a bandleader, Patrick only released one LP - the almost mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and Rene Mclean. First issued in 1977 on Sun Ra's legendary Saturn Records imprint, Sound Advice is a deephued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia where higher adepts of the lower cosmic tones are heard in rare conference.

Unissued since original release, Art Yard Records is proud to bring this unique jazz masterpiece back into the limelight.

CHARLES DAVIS
Charles Davis was born in Mississippi and raised in Chicago. He is co-founder of this exciting group. He studied music under Captain Walter Dyett at Du Sable High and is a graduate of the Chicago School of Music. He has been playing professionally for over fifteen years with a sound that is a distinct blend of warm tone and a masterful sense of rhythm. The winner of the 1964 Downbeat ‘New Star’ Award and the Playboy Poll of top five baritone players, he has excelled with such groups as Dinah Washington, Billie Holiday, Kenny Dorham, Olatunji, San Ra and Cedar Walton. Charles is also a fine composer and arranger.

GEORGE BARROW
George Barrow is a legend in himself. Besides the baritone sax, he also plays clarinet and flute. His classical training with Paige Brook of the New York Philharmonic provided an added dimension to his immense talent. George is the winner of the Downbeat ‘New Star’ Award in 1956. Oliver Nelson, Charles Mingus, Don Redwood, Frank Wess, Clark Terry, Cootie Williams, Lucky Millinder, Ernie Wilkens, Billie Taylor and Louis Bellson are among the personalities that he has played and recorded with.

JAMES WARE
James is a native of St. Louis, Missouri. He has participated in summer courses at Washington University in St. Louis under Oliver Nelson. During the past decade as a professional, he has worked with Sam Rivers, Cal Massey, Frank Foster and recorded with Archie Shepp. In 1972 he won the Downbeat Award for his composition, The End of the Beginning. James is an accomplished musician, composer and arranger.

KENNY ROGERS
Kenny, a native New Yorker, studied at the Brooklyn Conservatory of Music and the Manhattan School of Music. His professional career included experience with groups headed by Frank Foster, Clark Terry, Nancy Wilson, Willis Jackson, Lou Rawls and the Rueben Phillips Orchestra. Kenny has an intense and arresting style that is unique.

MARIO RIVERA
Mario was horn in Santo Domingo, Dominican Republic. He studied briefly with Lynn Oliver and has been playing professionally for over sixteen years. Over the years his distinctive sound and style has enriched the great orchestras of Alex Pascal, Tito Rodriquez, Eddie Palmeri and
Tito Puente. Mario is without a doubt a master of his instrument.

REYNOLD SCOTT
A native of Charleston, South Carolina,. Reynold studied at Morgan State College in Maryland. While only playing professionally for five years, he has developed a full, well balanced approach and distinctive sound. He has played with the MUSE Quartet and Tito Puente among others.

HAMETT BLUIETT
Hamett was born in Brooklyn, Illinois. His educational background included study at Southern Illinois University and the Berkeley School of Music as well as with Oliver Nelson. His fifteen years of professional musicianship has placed his sound as an important one in the world of music. He has played with Sam Rivers, Leon Thomas, Marvin Gaye, Stevie Wonder, Brook Benton, Charles Mingus, Olantunji, Tito Puente and the Gateway Symphony Orchestra to mention a few. He is truly one
of the outstanding musicians on the scene today.

“A RHYTHM TEAM SUPPLIES THE BEAT”
The Baritone Saxophone Retinue made its debut on the contemporary music scene with a tribute concert to Harry Carney on September 24, 1972 at the New Lafayette Theatre. 2349 Seventh Avenue New York, New York. They also appeared along with many well-known artists as part of a special tribute to Kenny Dorham on October 1, 1972 at the fabulous ID Club Brooklyn, New York.

PAT PATRICK
To describe the phenomenal musical background of musician, composer, arranger “Pat” Patrick could fill several pages. His versatility combined with a distinctly individual sound has enhanced groups led by Erskine Hawkins, Sun Ra, Leon Thomas, Cab Calloway, Earl Hines, Horace Henderson, James Moody, Cootie Williams, Duke Ellington and Thelonius Monk to mention a few.