407:(1996). At this time Eskelin abandoned commercially oriented work in order to concentrate fully on his own projects and the music of like-minded colleagues. During a three-month period in 1991 he developed a solo saxophone concert program in complete musical isolation, opting not to perform or interact with any other musicians during this time. In addition to entirely revamping his approach to the saxophone the process proved to be a catalyst for musical ideas that Eskelin further developed and applied to his compositions for the group he formed in 1994, "Ellery Eskelin with Andrea Parkins and Jim Black". This group, featuring Parkins on accordion and electronics and Black on percussion released "Jazz Trash" in 1995 and followed up with a dozen recordings over the ensuing decade and into the 2000s primarily for the Swiss-based
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237:. His mother, organist Bobbie Lee, learned to play music in the Pentecostal church as a teenager, the influence of which carried over into her playing of secular music and also provided a strong and lasting influence on Eskelin. Her playing was characterized by a strong rhythmic feel and a commanding delivery of American songs. Eskelin's grandfather was the musical director of the church and played the pedal steel guitar in services while performing on the electric guitar professionally in Baltimore during the late 1940s and early 1950s.
554:. A renewed interest in the early history of the saxophone (sparked by his switch to a vintage instrument in 2009) has invigorated Eskelin's musical aesthetic. Trio New York incorporates standard material from the Great American Songbook (much of the repertoire being inspired by his mother, organist Bobbie Lee) in a freely improvised setting. In comparing the group's eponymous recording to an earlier project by Eskelin devoted to the music of saxophonist Gene Ammons (
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In 2016 Eskelin was interviewed by the web based music journal “Point of
Departure” in which he conveyed his increasing advocacy of acoustic (non-amplified) performance in humanistic, if not spiritual terms, also expressing concern about the effect of technology on the artistic experience as well as
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Eskelin’s current working ensemble includes bassist
Christian Weber (from ZĂĽrich) and Michael Griener on drums (based in Berlin). The group performs acoustically (no microphones on stage and bassist Weber opting not to use an amplifier) performing freely improvised music juxtaposed with early jazz
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and the One Step Down. Copland was a former New York saxophonist who moved to
Washington DC and switched to piano in order to more deeply explore the role of harmony in his own music. Eskelin, along with Drew Gress, would reunite with Copland years later in New York City in one of Eskelin's early
203:, December 1996) and the unorthodox techniques utilized in his compositions (in which composed and improvised elements often collide unpredictably) make for a music that defies easy categorization. Over the years, Eskelin has garnered significant critical praise in the international jazz press. '
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label. In the liner notes to "One Great Day..." (the band's second release) Eskelin explains that the fractured and sometimes incongruent nature of his experiences as a musician coming up in the 1970s and 1980s finally came together in a manner that made sense and could be expressed in a unified
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Eskelin has resided in New York City since 1983 and has led numerous international touring ensembles while participating as a sideman or collaborator with many of today's most forward-thinking composers and improvisers. He has released more than twenty-five recordings as a leader since the late
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in a big band setting performing one-nighters across the United States and culminating in a tour of South
America in early 1983. In March 1983 he left the road tour and moved to New York City taking any kind of musical work available in order to make a living. In an effort to deepen his
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Throughout the first decade of the 2000s
Eskelin focused primarily on his group with Andrea Parkins and Jim Black, touring and recording, occasionally augmenting the band with additional musicians such as vocalist Jessica Constable, keyboardist Philippe Gelda, cellist
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the potential disruption of personal and community engagement. Expanding on his thoughts regarding music and spirituality, Eskelin (a formal practitioner of Zen
Buddhism) was interviewed in the book “Spirits Rejoice!: Jazz and American Religion” by Jason Bivins.
570:, this most recent release being a live recording from the Willisau Festival in 2015 and featuring Gerry Hemingway on the drums. The UK based Wire Magazine wrote of this project, “There’s a whole history of jazz in these richly rewarding performances.”
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By 1985 Eskelin slowly began to develop his own musical approach, combining his roots in jazz with his interests in other forms of music, particularly free improvisation. Laying the groundwork for these explorations were studies with saxophonist
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which led to informal jam sessions and eventually a working professional relationship. In 1987 Eskelin began developing original music with drummer Phil Haynes leading to the formation of the cooperative group "Joint
Venture" (with trumpeter
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and bassist Drew Gress) as well as numerous other projects centered around Haynes' Brooklyn loft and rehearsal space. Along with a group of like-minded musicians they presented a number of annual self-produced festivals in
Manhattan at the
558:, 1996), reviewer Ed Hazel wrote: "If anything, Trio New York is both subtler and more adventurous, more at home with the music and less self conscious about taking liberties with it." The group has released three recordings,
260:. Early performances as a leader took place at various jazz clubs such as "The Bandstand" and "The Closet" run by saxophonist and entrepreneur Henry Baker, who had a long history in the Baltimore music scene having known
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understanding of be-bop
Eskelin attended nightly informal jam sessions for several years at a local club called the "Star Cafe" on 23rd Street and Seventh Avenue in Manhattan. These sessions were run by saxophonist
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classics by composers such as Scott Joplin, Jelly Roll Morton and Fats Waller. The trio records for the Swiss Intakt label having released “Sensations of Tone” in 2017 followed by "The Pearls" in 2019.
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in 2007. In 2009 Eskelin was the recipient of a
Chamber Music America "New Jazz Works" grant which commissioned an extended work for the group "Different But the Same", a quartet with fellow saxophonist
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and many others. Baker predicted that the young saxophonist would one day become "a great tenor saxophone player". At around this same time Eskelin met drummer Harold White (formerly with
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During this time Eskelin also continued launching new projects of his own (leaning towards complete improvisation) such as "Vanishing Point", a group-improvised recording from 2000 with
1261:, an NPR radio program, broadcast an interview with Ellery Eskelin on the subject of his father's work. The episode was entitled "Blame it on Art" and originally aired August 22, 1997.
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in which he compares the two projects by saying “As opposed to reimagining my instrument I’m very much interested in the essence of a saxophone as being just what it is, a saxophone.”
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magazine has recognized him as "a major player in today's creative music" (September 1995) and described his compositional approach as "a startlingly new concept" (January 1997).
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and Bobbie Lee, were both professional musicians. Rodd Keith died in 1974 in Los Angeles, California, and became a cult figure after his death in the little-known field of "
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concert series presented at the Famous Ballroom. Eskelin had opportunities to sit in with locals such as Fields as well as internationally renowned artists such as Bartz,
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as well as a later group called "Trio New York" with organist Gary Versace and drummer Gerald Cleaver. Eskelin has maintained lasting musical associations with
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which ran into the early 1990s. These performances and subsequent recordings by these groups led to Eskelin's initial exposure on the European touring circuit.
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groups as a leader. Also in 1979 Eskelin encountered bay area saxophonist Mel Ellison who was performing in Baltimore for an extended engagement with trumpeter
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musical language with this ensemble. The group toured regularly in Europe, the U.S. and Canada and continues, having performed in Europe as recently as 2010.
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and drummer Harold White (who Eskelin had first met and performed with in Baltimore). In addition Eskelin pursued private studies with saxophonist
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was a fellow student with whom Eskelin continues to collaborate and perform with to the present day. In 1979 Eskelin met pianist
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Eskelin's style has its roots in the jazz realm yet his unique phrasing (which is compared to Arnold Schoenberg's technique of "
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Henry Baker Oral History, Sounds and Stories - The Musical Life of Maryland's African-American Communities
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The Baltimore City Paper - Flying Home, Jazz saxophonist Ellery Eskelin revisits his Baltimore roots
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Baltimore had a rich musical legacy sustained by musicians such as saxophonists
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Eskelin at the Cornelia Street Cafe in Greenwich Village, New York City, 2012
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On the Road with Ellery Eskelin w/Andrea Parkins & Jim Black
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Spirits Rejoice!: Jazz and American Religion by Jason Bivins
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as well as inspiring an early interest in jazz music.
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In 2013 Eskelin released a new recorded project for
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Eskelin began touring Europe regularly with drummer
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306:
302:
298:
294:
289:
287:
286:Horace Silver
283:
279:
278:John Coltrane
275:
271:
267:
263:
259:
255:
251:
247:
243:
242:Mickey Fields
238:
236:
235:John Coltrane
232:
228:
224:
220:
210:
208:
207:
202:
201:
196:
191:
189:
188:Daniel Humair
185:
184:Bobby Previte
181:
177:
173:
172:David Liebman
169:
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149:
145:
139:
137:
133:
129:
125:
121:
109:
101:
97:
93:
89:
85:
81:
77:
74:
71:
67:
63:
58:(age 65)
48:
44:
39:
32:
27:
20:
1258:
1219:
1206:
1195:
1171:
1167:
1156:
1145:
1134:
1123:
1112:
1094:
1083:
1067:
1061:
1046:
1040:
1034:
1024:
1014:
1008:
1002:
996:
990:
980:
964:
958:
952:
947:The Whimbler
946:
936:
933:(Enja, 2001)
924:
914:
908:
898:
895:(Enja, 1996)
888:
876:
867:Ray Anderson
860:
848:
832:
826:
820:
810:
796:
784:Cadence Jazz
779:
773:
767:
761:
755:
745:
736:The Sun Died
735:
729:
723:
717:
711:
705:
699:
693:
687:
681:
675:
669:
663:
657:
651:
645:
635:
629:
623:
617:
611:
595:
591:
586:
582:
578:
572:
567:
563:
559:
556:The Sun Died
555:
549:
546:2010–present
532:Mark Dresser
521:
498:, trumpeter
496:Satoko Fujii
471:
467:
463:
456:Melvin Gibbs
454:and bassist
444:
435:The Sun Died
434:
428:
414:
404:
400:
396:
393:Josh Roseman
382:
359:
355:Dave Stryker
338:Buddy Morrow
335:
328:' ensemble.
305:Marc Copland
290:
262:Lester Young
254:Pepper Adams
239:
216:
204:
198:
192:
150:and drummer
140:
119:
118:
1277:1959 births
1150:Mel Ellison
1056:Filmography
893:Mark Helias
801:Mikel Rouse
762:Premonition
670:Quiet Music
601:Discography
534:(bass) and
504:Lisle Ellis
480:Han Bennink
474:), drummer
460:Mark Helias
417:Gene Ammons
403:(1993) and
389:Steve Swell
368:Paul Smoker
351:Jack McDuff
343:Junior Cook
326:Mark Helias
313:Blues Alley
309:Cellar Door
274:Red Garland
270:Miles Davis
223:Sonny Stitt
219:Gene Ammons
213:Early years
176:Han Bennink
160:Mark Helias
1271:Categories
1075:References
941:Clean Feed
909:Fictionary
839:Joey Baron
791:As sideman
756:Jazz Trash
640:Clean Feed
612:The Pearls
536:Matt Moran
524:Mat Maneri
494:, pianist
468:Fictionary
464:Open Loose
452:Marc Ribot
421:Marc Ribot
405:Crack Shot
385:Joey Baron
322:Tom Rainey
318:Ted Curson
301:Drew Gress
258:Woody Shaw
246:Gary Bartz
227:Lee Konitz
168:Marc Ribot
156:Joey Baron
128:Rodd Keith
87:Instrument
79:Occupation
52:1959-08-16
1172:Down Beat
1048:Live 1987
878:Crackshot
869:with the
855:New World
805:Cuneiform
740:Soul Note
606:As leader
577:entitled
530:(cello),
526:(viola),
297:Hank Levy
231:Stan Getz
206:Down Beat
152:Jim Black
132:song-poem
90:Saxophone
1102:Archived
975:Palmetto
399:(1991),
200:The Wire
144:hatOLOGY
82:Musician
1035:Rhombal
977:, 2008)
959:Riptide
943:, 2003)
905:, 1998)
885:, 1995)
857:, 1994)
845:, 1991)
827:Mirrors
817:, 1987)
807:, 1988)
752:, 1996)
750:Eremite
742:, 1996)
642:, 2013)
409:Hat Hut
99:Website
1200:Mirage
636:Mirage
579:Mirage
69:Genres
64:, U.S.
1025:Trust
953:Songs
883:Avant
786:1988)
774:Forms
441:2000s
379:1990s
332:1980s
197:" in
903:Koch
821:Ways
815:Enja
566:and
427:).
256:and
244:and
233:and
186:and
108:.com
73:Jazz
46:Born
929:–
843:JMT
676:Ten
104:www
1273::
1181:^
1027:–
1017:–
983:–
969:–
917:–
891:–
865:–
837:–
799:–
562:,
519:.
470:,
466:,
311:,
280:,
276:,
272:,
268:,
264:,
229:,
225:,
221:,
182:,
178:,
174:,
170:,
166:,
162:,
158:,
54:)
1210:“
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