I want to be a social player if that makes any sense, a useful part of the ensemble, interactive and contributing to the overall swing and feeling and connection to the audience. My biggest challenges are the basics: playing clear, outlining the harmony clearly, rhythm, staying on top of it. When my sound is working for me, I love to leave more space and phrase. There is a quote from Larry Goldings that has been going around social media this week, "the prettier your sound is the less you can play." I certainly feel this way. I've worked hard to have an alto sound that I am happy with. Rich sadly passed away from COVID around the same time as Lee Konitz in 2020. He was the reason a bunch of us went to music school, and from 6th grade on I kind of knew this is what I would do. Rich was our band teacher from 6th grade to 12th back in Quincy, MA and was a Berklee graduate. I left out one of my most important teachers above, my first real saxophone teacher, Rich Kenneally. As a writer Jimmy Giuffre's contrapuntal style is my favorite. Other influences are the other cool school alto players, Art Pepper, Paul Desmond, Bud Shank, etc. After I got out of school I sought out Greg Osby for lessons, then later on Andrew Sterman, from the Philip Glass Ensemble, who taught me the art of doubling, mostly on the clarinet for me. Back at Berklee I studied with a great woodwind faculty: Dino Govoni, Shannon LeClaire, George Garzone, Bill Pierce, Joe Lovano. I learned so much talking to him, and he is the reason I returned to primarily playing standard repertoire, as it became a daily practice for me. I met Lee in 2003 I think, and took lessons with him over the years along with a bunch of phone calls. And then a big et cetera for the rest! Teachers and/or influences? Well as far as influences my biggest one has to be the great Lee Konitz. My main horns for all you gearheads are as follows: 1954 Selmer Mark VI Alto 1926 Conn New Wonder II Gold Plated Alto Yamaha 875EX Tenor with Sterling Silver Neck Selmer Series III Soprano Sax 1952 Conn 10m Baritone Sax 1966 Buffet R13 Clarinet 1979 Buffet R13 A Clarinet (which is what I play mostly on the new record) Muramatsu AD Flute. Instruments: I went a little crazy with doubles in the past few years so I have a good closet full of instruments at this point. He continues to compose, arrange, perform and is a Lecturer at BMCC, Borough of Manhattan Community College in Tribeca, NYC. He is the author of the Bach Shapes series, 8 books for saxophone and all instruments focusing on the music of J.S. He has recorded woodwinds for numerous movies and television shows, including The Last Black Man in San Francisco, Random Acts of Flyness and Unbreakable Kimmy Schmidt. 1 (2012) and And The Stars Were Shining (2023) and an octet on the Jon De Lucia Octet + Ted Brown Live at The Drawing Room (2018) and the upcoming Jon De Lucia Octet plays Brubeck (2024). He leads the Jon De Lucia Group on two albums: Face no Face (2006) and As The River Sings (2017) the baroque improvising Luce Trio on Pieces Vol. In New York he has played with Putter Smith, Ray Gallon, Michael Kanan, Steve Little, Bill Crow, Maeve Gilchrist, Joe Hunt, Greg Ruggiero, Nir Felder, Leo Genovese, Kris Davis and more. Originally from Quincy, MA, he moved to New York City in 2005.Since then he has performed in the US and internationally at the Burlington Discover Jazz Fest, the Tanglewood Jazz Festival, and the Tamana-shi Jazz Festival in Japan. Meet Jon De Lucia Jon De Lucia is a Brooklyn-based saxophonist, clarinetist and composer.
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