Saxman relies on 'big ears'

Friday, February 20, 2004
BY ZAN STEWART
Star-Ledger Staff

Dave Glasser's latest CD, "Begin Again" (Chiaroscuro), contains a mix of selections, from a galloping version of Cole Porter's "In the Still of the Night" to Gigi Gryce's haunting ballad, "Reminiscing," and his relaxed swinger, "Social Call."

Throughout, his rich alto saxophone sound, supple rhythmic sense and the deep melodies are compelling. The fact that Glasser can deliver at any tempo, in any mode, has made him a favorite with such jazz legends as Clark Terry, Illinois Jacquet, Earl May, Barry Harris and Frank Foster -- all of whom he has performed with extensively.

"Soul, swing and feeling: That's what this music is about," says Glasser, 41, a native New Yorker who resides there. "It's not about the notes. What people feel is the feeling. It's so important to say something, tell a story."

Glasser plays Saturday with his quartet in a CD release party for "Begin Again" at Il Campanello Restaurant in New York. He says his ability to offer music that reaches audiences and musicians alike comes from a time-tested practice among jazz artists: He relies on his ears.

"I learned to play by playing along with records," says Glasser, who holds a master's in jazz performance from the Eastman School of Music in Rochester, N.Y. "I was always interested in playing as close as I could to people I idolized, from Louis Armstrong to John Coltrane. From playing with people like Barry, Clark and Illinois, I found that's pretty much how they learned. It's an oral tradition being handed down."

Learning by listening -- having, as musicians say, "big ears" -- has paid solid dividends for Glasser. He cites his tenure with Howarth resident Terry, a king of swing-styled trumpet in whose quintet he's performed since 1995.

"One of the reasons I was able to succeed with Clark was that I had listened, knew a lot of history," says Glasser, who names Charlie Parker, Cannonball Adderley and Johnny Hodges among the saxophonists he admires.

"I knew many (songs that Terry) played, but if I didn't know one, I could pick it up quickly, without music, on the bandstand."
Glasser says he enjoys playing with the musicians in his quartet, which includes pianist Tardo Hammer, bassist Lee Hudson and drummer Tony Jefferson, because they also have great ears and can offer something spontaneously. They are also capable of playing with a range of emotions, which helps keep an audience intrigued.

"We have a real connection," he says. "We all surrender to the music, trying to make it work, feel good."

Glasser started saxophone at age 12 and later attended New York's prestigious High School of Music and Art, during which time he studied with the esteemed alto saxophonist Lee Konitz. He graduated from Eastman in 1986, and came to New York, studying with Harris, then playing with Jacquet (1988, 1991-95) and the Foster-led Basie ghost band (1989-91).

On Jacquet's band, he played with the unheralded but outstanding trumpet vet Irvin Stokes, who was a mentor.

"He taught me you can't make something swing, you have to let it swing," Glasser says. "That's what I really strive to do, let the music come through me."

Contact Dave: dgbebop@gmail.com