L

CJ't= D UNIVERSITYOF NEW HAMPSHIRE

OUR NINETY-FIFTH PROGRAM SCOTTROBINSON

TENOR SAX (AND THEN SOME)

WITH

RICHARD WYANDS-piano GRAY SARGENT-guitar MARSHALL WOOD-bass LESHARRIS, |R.-drums

SPONSOREDBY TI{E DEPARTMENT OF MUSIC AND THE NEW HAMPSHIRE LIBRARY OF TRADITIONAL 'AZZ

8 PM MONDAY JANUARY 31, 1994 STRAFFORDROOM MEMORIAL UMON BUILDING DI,]RHAM, NEW HAMPSHIRE THE ARTISTS

SCOfi ROBINSON.,.czd tftez sorze

Even at the risk of minor embarrassmentto certain of the parties involved, some of the events leading to tonight's per{ormance are worth recounting, not becauseexplanations of program changesare necessarybut becauseout of adl:ersity and confusion occasionallycome rich rewards and the triumph of accident. A substantialnumber of factorsfeed into the selectionprocess for this series: one is the fostering of younger playerswho are clearly inspired by tradition, another is continuing recognition of quality through return engagementt often in fresh configurations. Needless to say, there is a huge backlog in the latter category. Among the saxophonists we have long wished to feature once again are Scott Hamilton and Harry Allen; we went to press with our brochure with our fingers crossed as Scott H. was unsure of the extent of a developing European venture, and when it became clear in the fall that the trip would preclude his appearance here we encountereda sirnilar set of circumstanceswith Harry. (Frankly, we are delighted that both are so successful!) De.cemberloomed, and we regrouped, but as va-rious healthy alternativespresented themselves we were stilt dgai,n to the desirability of "generation', a tenor saxophonistfrom that same complementaryto Gray, Marshall, ,Why and les. Then the light came on, and we asked ourselves, didn't we think of this before--lggg before?". Epiphany! When this series was in its infancy well over a dozen years ago, there were regular philosophical discussions, spirited and insightful, involving its founder, the late Dorothy Prescott. One of the issues regularly touched upon was the seemingly small number of young performers then finding inspiration and commonality of impulse in the rich accomplishments of earlier traditions. One name mentioned with singular approbation was a saxophonist then in Boston named Scott Robinson. (For the record, Cray Sargent and Marshall Wood were also so identifiedl) Scott has appeared on our program several times with White Heat Swing Orchestraand also with Vince Giordano'sNishthawks but more significantly he hai become a central figure on the New York rene; who else do you know that has recorded or performed with Doc Cheatham and Doc Severinson, Art Hodes and Toshiko Akoyoshi, Benny Waters and Christopher Hollyday, and the Buck Clayton and Bob Mintzer orchestras?! The fact is that Scott's unique curiositv about the Dast combineswith a highly personalcrcative bent and an exploratory consciousnessihat have taken him far beyond any predictable confines; he approaches everything with respect and integrity, brrt also with a keen perception of essencesand relationships T N A L crk, R E S

SCOTT ROBINSON

TENOR SAX...AND THEN SOME

that banscendthe surfaceimpressions of periodsand styles. Moreover,he plays musicall.vover 30 instruments,some of his own invention,a realitymanifested in his first recordingalmost a decadeago, "Multiple Instruments." It is also a pleasureto welcomeRichard Wyands to our series. A native Califomianwho movedto New York in 1958at age3Q his performingcredits reflect participationin iust about every healthyaspect of the iazz world that any pianist coulddesire, including extensivework with ,,and ,stints as accompanistfor EllaFitzgerald and CarmenMcRae, and European tour with such luminaries as our dear friend, Red Norvo. Gray,Marshall, Les, Jr. are well known to all exceptthe newestmembers of our audience;suffice it to saythat theircontinued presence in our midst makesNew Englandwinter, eventhis one,far morebearabte. If Scott Robinsonwere an athletehe would be describedas a "multiDle "He's threat", But in the words of Dan Morgensternof the Instituteof !3a Studies, really salng something!" Listen!

Taperecotd,ers and camerasarc not permitted due to contractualarrs,ngernents. Youtcooperation is requested. THE SERIES

The UNH TraditionalJazz Series began 1979. It promotesthe enioymentand understanding of the art thtough concertsfeaturing musiciansof regionaf national, and international prorninence. The program representsa unique errdeavorto expand interest and honor outstandingtalent and achievement.

Musicians rvishing to do so are encouragd to offer their recordingsfor sale or mail order during intermission;a brief announcementmay be made. The sponsorshave no financial interest in such salesbeyond offering a courtesy serviceto the artistsand the Dublic.

Program Notes-Paul Verrette Production-DavidSeiler

THE SCHEDULE

September13 The Ellington Legacy-GroverMitchell Big Band featuring Frank Wess,tenor sar October 18 Dave McKenna and Carl Fontana November 22 Hot Antic lazz Band, January31 ScottRobinson February 28 New England Summit GeorgeMasso, Brad Terry, |eff Stout March 28 Hank JonesTrio April 25 New Black Eaglefazz Band