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ComposerArranger
Saxophonist
Azar Lawrence
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COMPOSERARRANGERSAXOPHONIST
AZAR LAWRENCEBACKGROUND
At a young age Azar Lawrence began to leave his mark on Jazz. Hired by drummer Elvin Jones when he was just 19, the prodigious young saxophonist would be tapped soon after by McCoy Tyner to fill the large shoes of the latter’s co-collaborator John Coltrane. Azar grew up during an era of prolificacy and transcendence in Jazz music that to this day has stood the test of time. He's composed, produced and performed with acclaimed jazz luminary McCoy Tyner for over five years and Elvin Jones for many years. While very young Azar began playing with many jazz legends and his first professional gigs abroad (at age seventeen) was with Clarke Terry and Muddy Waters.
In high school Azar played with the Dorsey High School Jazz Workshop where he became friends and shared many musical ideas with pianist and his mentor Herbert Baker. Azar also performed in high school with the Horace Tapscott Arkestra where he met and became close friends with Reggie Golson; the late son of Benny Golson. Reggie and the Golson family became very instrumental in Azar's musical journey in Jazz.
Soon upon graduating from high school he played with George Cables, Candy Finch, Larry Gales, and Woody Shaw at a regular gig at a Los Angeles club on 54th St. Soon he would perform with Ike & Tina Turner, the Watts 103rd St. Band, and War. At age 20 Azar was introduced to Elvin Jones (at the 'Lighthouse') by his docent Reggie Golson. Within a week of meeting Elvin, Azar would leave Los Angeles for New York to become a member of Jones' band 'Jazz Machine.'
After a few years with Jones he then became a member of McCoy Tyner’s group. After five years with McCoy Tyner, Azar rejoined Elvin Jones for a while, and during that time he recorded with Roberta Flack. Over the years Miles Davis would attend Azar's New York concerts when he was with McCoy Tyner; and, as well as when he was with Elvin. Miles approached Azar about joining his group. Azar’s first concert with Miles was in Washington DC and soon after they performed and recorded Dark Magus (1974) live at Carnegie Hall in New York.
Like his contemporaries Herbie Hancock and Charles Lloyd, Lawrence forayed into pop music, recording with Earth Wind & Fire, Frank Zappa and Busta Rhymes. During the eighties he wrote and performed for Earth Wind Fire, on their highly acclaimed release Powerlight. He collaborated with Earth Wind & Fire’s leader Maurice White. His credits are numerous from early on one being the highly acclaimed Grammy award winning album; Marvin Gaye’s, Hear My Dear.
COMPOSER ARRANGERSAXOPHONIST
AZAR LAWRENCEBACKGROUND
A musical force since he graduated from high school, he released several albums of his own before the age of twenty-five; Bridge Into the New Age, People Moving People, and Summer Solstice, Shadow Dancing and People Moving.
In recent years he released Legacy and Music of John Coltrane, Speak The Word and Prayer For My Ancestors, and The Seeker; recorded live at the Jazz Standard, New York, NY was released on Sunnyside Records, 2014.
Other productions Azar can be heard on are 'The Cookers, Cast The First Stone' - 2011 and 'Platinum' The Headhunters -2011. Hitting hard live and in recorded music these days Azar has written new compositions as a follow up to his 2010 release, (that received several Best of' 2010's) 'Mystic Journey.’
Since the early 2000's, the consummate artist has returned full force to his post-Bob Jazz roots. Lawrence's distinctive sound embodies a deep spirituality, which can be heard on Tyner's "Walk Spirit, Talk Spirit", and his own numerous recordings on Prestige. His co-production of his latest CD; with Seth Abramson, Grammy Winner and Artistic Director for the Jazz Standard in New York The Seeker; made it on the 2014 ballot for a Grammy nomination consideration; and next up Azar Lawrence's soon to be released new CD ‘Elementals;’ promises to be another red hot presentation to be submitted by the ever burning! saxist guru.....
Hs current Oeuvre never missing a beat, Azar Lawrence's shows sparkle with virtuosity, and vivid ideas and textures. To the discerning listener, Lawrence's depth can only be attributed to one who has 'been there'. And 'there' he most definitely was.
Page 2
Azar LawrenceDiscography
The Seeker, Live at the Jazz Standard, New York (2014)
Mystic Journey (2010)
Prayer For My Ancestors (2009)
Speak The Word Revelations (2008)
Legacy and Music of John Coltrane (2007)
People Moving (1976)
Summer Solstice (1975)
Bridge into the New Age (1974)
Performs on:Platinum, The Headhunters - (2011)
Cast The First Stone - The Cookers (2010)
Circles (2010)
O What A Beautiful Morning (2008)
If We Should Meet Again (2007)
In The Ghetto [CD/V] (2006)
Milestone Profile (Bonus CD) (2006)
Fusion With Attitude / Various (2006)
Essential Earth, Wind & Fire [CD/DVD] (2005)
Natural High / Various (Eng) (2004)
Black Renaissance (2002)
Essential Earth Wind & Fire (2002)
Givin' Away the Store, Vol. 2 (2000)
Incontournables (2000)
Greatest Hits (1998) - Earth, Wind & Fire
Vanguard Collector's Edition (1997)
Little Tree (1997)
Gonna Take a Miracle: The Best of
Denise Williams (1996)
Elements of Love: Ballads (1996)
Performs on:Sense of Direction (1995)
Fivin' Around (1985)
Home Again (1983)
Powerlight (1983)
Somewhere in My Lifetime (1979)
Chameleon [Elektra] (1979) – Chameleon
Warriors (1979)
Hear My Dear (1978)
Don't Ask My Neighbors (1978)
Bundle of Joy (1977)
Song Bird (1977)
In: Sanity (1976) - The 360 Degree Music Experience
In a Special Way (1976)
New Agenda (1975)
Dark Magus (1974)
Moontrane [Muse] (1974)
Atlantis (1974)
Sama Layuca (1974)
Enlightenment (1973)
5/27/16, 6:55 PM10 Things to Do Now in NYC - The New York Times
Page 3 of 16http://www.nytimes.com/interactive/2016/05/27/arts/music/things-to-do-in-new-york-fleet-week-selena-gomez-tracy-morgan.html?_r=1
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10 Things to Do Now in NYCCompiled by LORI HOLCOMB-HOLLAND MAY 27, 2016
It’s a big city, with plenty to do, see, hear and watch. This new
guide is a sampling of cultural highlights taking place in New York
this weekend and over the week ahead. And there’s much more
where these came from.
Photo
5/27/16, 6:55 PM10 Things to Do Now in NYC - The New York Times
Page 4 of 16http://www.nytimes.com/interactive/2016/05/27/arts/music/things-to-do-in-new-york-fleet-week-selena-gomez-tracy-morgan.html?_r=1
Patrick Hayes, left, and Brandon Dericho, Navy sailors, took a breather while waiting for a friend on Thursday in Times Square. Credit Damon Winter/The NewYork Times
Around Town
This annual event, which runs through Tuesday and brings about 4,500members of the United States Navy, Marines and Coast Guard to NewYork, includes events like band and drill-team performances, search-and-rescue demonstrations and daily public tours of the docked ships.
Among the highlights is the Intrepid Sea, Air & Space Museum’s MemorialDay commemoration, which includes a wreath-laying and the unfurling of a100-foot American flag. Here’s a full schedule full schedule. JOSHUABARONE
See other cultural festivals, discussions, tours and more.
Drop Anchor for FleetWeek
5/27/16, 6:55 PM10 Things to Do Now in NYC - The New York Times
Page 15 of 16http://www.nytimes.com/interactive/2016/05/27/arts/music/things-to-do-in-new-york-fleet-week-selena-gomez-tracy-morgan.html?_r=1
Azar Lawrence Credit Michelle V. Agins/The New York Times
Jazz
Azar Lawrence Quartet at the Jazz Standard
A powerful tenor saxophonist in the midst of a welcome career resurgence,Mr. Lawrence recently released an album, “The Seeker,” recorded live atthe Jazz Standard with a band featuring the incisive pianist BenitoGonzalez. Mr. Lawrence re-enlists Mr. Gonzalez in a quartet alongside thebassist Buster Williams and the drummer Marvin Smith, known as Smitty.NATE CHINEN
Find more jazz shows for this week.
Witness a Resurgence inthe Making
9/11/15, 11:54 AMParis Jazz Diary 2015: Saxophonists Branford Marsalis, Azar Lawrence
Page 1 of 4http://www.allaboutjazz.com/paris-jazz-diary-2015-saxophonists-branford-marsalis-azar-lawrence-branford-marsalis-by-patricia-myers.php
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Paris Jazz Diary 2015: SaxophonistsParis Jazz Diary 2015: SaxophonistsBranford Marsalis, Azar LawrenceBranford Marsalis, Azar LawrenceBy Published: August 25, 2015 | 2,946 views
Paris Jazz Diary 2015: Saxophonists Branford Marsalis, Azar Lawrence New Morning, Sunside jazz clubs Paris, France July 21-22, 2015
Back-to-back jazz nights featured dynamic saxophonists Branford Marsalis andAzar Lawrence performing in two of the top music clubs of Paris, both leading quartets.Marsalis was on the big stage in the 200-seat New Morning and Lawrence played in themore intimate Sunside jazz club. Both delivered with fire and ferocity, playing tenor andsoprano saxophones at blur-speed tempos in bands that also featured highly potentpianists, respectively Joey Calderazzo and Benito Gonzalez.
A thoroughly modern musician, Marsalis never completely abandons his New Orleans roots,solidly injecting bayou street-sounds within a framework of constant innovation. His highvelocity late-evening set at New Morning was enhanced by longtime colleagues Calderazzo,bassist Eric Revis and drummer Justin Faulkner.
As always, Marsalis came out blazing to deliver a series of bebop, ballads and a snazzycalypso numbers for the audience of 200-plus. On tenor sax, his fingers zig-zagged thelength of the horn at near-inhuman speed. When he switched to soprano, Marsalis was anentrancing balladeer, shifting the mood with expertise, and expert's ease.
Piano virtuoso Calderazzo matched the leader's vigor, plunging into the dazzling keyboard-wide forays that have been his trademark with Marsalis since 1998. A consummateimproviser, Calderazzo continually stretched his solo melody lines to their maximumborders, and often beyond, before "coming home."
Bassist Revis skillfully shifted with the Marsalis modes, employing his deeply massive soundto echo, then pursued his percussive intent to propel, as he has with this coalition since1997. Drummer Faulkner, the apt successor to Jeff "Tain" Watts in 2009, displayed hispolyrhythmic artistry via a prodigious ability to solidly underscore and carve out intricate
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9/11/15, 11:54 AMParis Jazz Diary 2015: Saxophonists Branford Marsalis, Azar Lawrence
Page 2 of 4http://www.allaboutjazz.com/paris-jazz-diary-2015-saxophonists-branford-marsalis-azar-lawrence-branford-marsalis-by-patricia-myers.php
dynamics.
Lawrence, 62, is a tenor and soprano master who can play both "in the pocket" and highlyprogressive styles. His far-ranging and impressive early years included 1970s work in NewYork City with Miles Davis, McCoy Tyner and Elvin Jones, rising to the challenge set by hispredecessor, John Coltrane, before also working with Freddie Hubbard and Woody Shaw.The passion of those decades was demonstrated by Lawrence and his touring trio of theVenezuelan pianist, bassist Essiet Okon Essiet and drummer James Brandon Lewis.
The powerhouse coalition dug in strongly from the first notes and sustained that level to thelast. They launched with "Elemental" (that Lawrence said he wrote for his next album), a20-minute excursion filled with his angular solos, abetted by the pianist's lengthy invention.Next came another 20-minute exploration, this time for Gonzalez' lively "Brazilian Girl"samba, Essiet plucking the strings and slapping the wood shoulder of his bass againstthundering power from drummer Lewis, the sounds surging repeatedly before closing with acalming tranquil segment.
Lawrence switched to soprano sax for another original, "Eye of the Needle," exploring itsirregular minor elements with intricate patterns and superb intonation in a series of 32ndnotes. A second samba came next as the vehicle for Charlie Parker's "Ko-Ko" that Gonzalezilluminated with exuberant modulations at finger-blurring tempos. The 90-minute set was aprodigious performance that concluded with a buzz of comments from clusters of departinglisteners.
The Lawrence quartet was part of Sunside's annual two-month-long American JazzFestiv'Halles that staged an impressive roster of trios and quartets featuring pianists andhorn players; the Marsalis performance at New Morning was part of the venue's month-longannual "Festival All-Stars" from June 29-August 1.
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9/11/15, 11:11 AMReview: Vienne and San Sebastian festivals
Page 1 of 3http://www.jazzjournal.co.uk/magazine/951/review-vienne-and-san-sebastian-festivals
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Review: Vienne and San Sebastian festivals
Bob Weir reviews and recommends two expertly organised and highly enjoyable festivals in beautiful Europeanlocations
I attended Vienne (26 June-11 July) for the last five daysthereby missing performances by Lillian Boutte, Dee DeeBridgewater, Allen Toussaint, Dhafer Youssef & IbrahimMaalouf, Marcus Miller, Maceo Parker, Soweto Kinch,Tigran, Melody Gardot, Chucho Valdes, Caetano Veloso &Gilberto Gil, Salif Keita, the Golden Gate Quartet, the GilEvans Paris Workshop and the Philip Catherine-RichardGalliano-Didier Lockwood super trio. I managed to catchsome of them later in Spain. What I did see was asstimulating and enjoyable as it always is at this mosthospitable festival.
My first concert was by bassist Avishai Cohen's New YorkDivision (Cohen pictured right) - a top flight sextet playinginspirational jazz (the only vocal was on his encore), sharing the bill with George Benson's (pictured below, left)tribute to Nat King Cole (pleasant and hugely popular). The midnight club featured Manchester's GoGo Penguin trio(pictured below, right) with great energy and stylistic diversity.
Next came Sting, full-bearded, playing his familiar hits with no jazzpretensions but giving a strong performance to satisfy the packed crowdin the atmospheric Roman amphitheatre. The jazz came later at themidnight Jazz Mix marquee from Erik Truffaz playing Daniel Yvinec'sSpace Is The Place long composition.
Thursday's events could have been an exercise in nostalgia but for thesheer quality, commitment and relevance of the veterans on stage. TheMessengers Legacy (Brian Lynch, Craig Handy, Billy Pierce, DonaldBrown, Essiet Essiet, Ralph Peterson with Benny Golson guesting)delivered Art Blakey standards with the vivacity and drive of men halftheir age. The same applied to The Cookers (Eddie Henderson, DavidWeiss, Donald Harrison, Billy Harper, George Cables, Cecil McBee, Billy
9/11/15, 11:11 AMReview: Vienne and San Sebastian festivals
Page 2 of 3http://www.jazzjournal.co.uk/magazine/951/review-vienne-and-san-sebastian-festivals
Weiss, Donald Harrison, Billy Harper, George Cables, Cecil McBee, BillyHart with Chico Freeman as guest) on a programme of stimulatingoriginals, mostly by McBee. Chico appeared again at the midnight club ina quartet to fiery effect. Jon Faddis fronting the Stamford (California)Jazz Orchestra of students and tutors are always popular - it was theirfifth time here - delighting the early evening crowd in Dizzy big bandstyle. They returned two days later with more of the same. The Jazz MixHommage To Moondog by Cabaret Contemporain was strange andfascinating.
The regular Blues Night this year was by all-French bands of moderateappeal. Only Eric Bibb rose to the occasion with some enjoyable folk andblues.
The final concert is always an all-nighter (8pm to 6am with free coffeeand croissants for the diehards who stay to the end). Six groupsappeared in an appropriately good-time, end-of-festival atmosphere.Two of them were exotic singers - Ayo of German, Nigerian and gypsyorigins and Ester Rada of Israeli/Ethiopian heritage. Both had strong visual and musical appeal. Snarky Puppy fromTexas and NYC put on a lively show of post-jazz fusion which left the audience shouting for more. Roy Hargrovecame on late having clearly enjoyed the backstage hospitality but his quintet still delivered the best jazz of thenight. In his relaxed state, he kept his trumpet solos fairly short and concentrated on singing some rarely heardballads in an attractive manner.
The shade of renowned photographer David Redfern was ubiquitous at Vienne this year. He died shortly afterattending last year's event, having worked there regularly for over 20 years. His many friends among themusicians, photographers and festival staff talked about him often with affection and respect.
San Sebastian's 50th festival (22-26 July) was dogged by persistent rain on a couple of days but the mass ofvisitors donned their ponchos, raised their umbrellas and were undeterred. They were rewarded with a variedprogramme to suit all tastes. There seemed to be a little less straightahead jazz than previously with an over-emphasis on singers. However, the nine stages (six free-entry), all within easy walking distance, provided plenty oftop quality entertainment. Enthusiastic audience responses suggested no disappointment.
The first night (all free) was party time on the massive beach stage with Jamie Cullum as a vibrant DJ, Earth, Wind& Fire and Jimmy Cliff. More jazz substance was available later at smaller venues from The Cookers and the duo ofRay Gelato and Claire Martin (who also played on the following day).
That was strictly singers' night. Catalonian legend Silvia Perez Cruz overpacked the large Trinidad Plaza, such washer local appeal. It was more comfortable in the modern Kursaal Auditorium to enjoy Jamie Cullum's very first soloconcert. He captivated his host of Spanish fans from the start despite glitches with his rhythm track gismo. He waseven applauded for taking off his jacket! Gregory Porter gave his usual consummately professional show with whatis now familiar material. Carla Cook, a classy singer of standards with an excellent Spanish trio, made the most ofher debut at the festival.
Cullum returned on Friday, this time with his regular small band,using his experience, well-honed stagecraft and maturepersonality to good effect. The night's jazz was supplied by threesaxophone veterans. Benny Golson (pictured left) was a festivalhighlight, not just for his playing (which was outstanding) but forhis between-numbers anecdotes, especially his fond and richlydetailed accounts of Clifford Brown's death and Coltrane joiningMiles. The quintets of Charles McPherson (ex-Mingus) and AzarLawrence (ex-McCoy Tyner) thrilled large crowds with theexuberance of their playing despite intermittent rain.
There was also plenty of good jazz on Saturday. The NewStandard Trio (Jamie Saft, Steve Swallow, Bobby Previte) were a
9/11/15, 11:11 AMReview: Vienne and San Sebastian festivals
Page 3 of 3http://www.jazzjournal.co.uk/magazine/951/review-vienne-and-san-sebastian-festivals
Standard Trio (Jamie Saft, Steve Swallow, Bobby Previte) were abit cerebral in the open-air Trinidad Plaza but their quietlyexecuted inventions were mesmerizing. Joshua Redman was aninteresting match with The Bad Plus. They interactedmagnificently and their well-rehearsed offerings were receivedwith two standing ovations. There was a lively jam session atmidday to celebrate 25 years of the Spanish magazineCuadernos De Jazz. The bands of Maciej Fortuna, Azar Lawrenceand Charles McPherson showed up with an infectious partyattitude. The day's big event was Dee Dee Bridgewater returningafter her triumph here last year. This time she sang goodnumbers associated with the Crescent City, powerfully supportedby Irvin Mayfield's New Orleans Seven.
The festival climax featured John Zorn's Bladerunner Trio, a fineCatalonian swing band in the Andrea Motis & Joan Chamorro Group, Melody Gardot in rock diva mode and asuitably exciting finish by the dependable Azar Lawrence Quartet.
The impressive San Telmo Museum had a very interesting exhibition to commemorate the festival's history at its50th anniversary with videos, posters, photos and memorabilia. So, two expertly organised and highly enjoyablefestivals, in beautiful locations, which I strongly recommend. The websites to monitor for next year are Jazz ÀVienne and Heineken Jazzaldia.
Photos by Tim Dickeson
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MUSIC | THE WEEK AHEAD
Revisiting 1964 ColtraneBy BEN RATLIFF DEC. 6, 2014
During the 1970s, when lots of jazz musicians were influenced by John Coltrane’s
meticulous and ecstatic small-group language, the saxophonist Azar Lawrence was
steeped in it, playing in bands led by Coltrane’s drummer, Elvin Jones, and his
pianist, McCoy Tyner. Mr. Lawrence was in his early 20s back then, understood to
be one of the best young musicians on the scene, but he didn’t follow a straight line
through jazz. He worked as a session musician and songwriter in pop, and strayed
from performing for a while. He’s come back over the last decade, recently with an
East Coast band including the pianist Benito Gonzalez and the drummer Jeff
Watts. This Tuesday happens to be the 50th anniversary of the recording of
Coltrane’s album “A Love Supreme,” and Mr. Lawrence’s group — with the bassist
Reggie Workman, a Coltrane-band alumnus — will play selections. To hear Mr.
Lawrence upshift through his improvisations, honoring a song’s rhythm and
harmony and then breaking free of it, is one of jazz’s current thrills, and he
understands this music as well as anyone. (7: 30 p.m. and 10 p.m. Tuesday and
Wednesday, Jazz Standard, 116 East 27th Street, Manhattan; jazzstandard.com.)A version of this article appears in print on December 7, 2014, on page AR4 of the New York edition with the
headline: Pop: Revisiting 1964 Coltrane.
© 2014 The New York Times Company
9/11/15, 11:13 AMAzar Lawrence: The Seeker – review - FT.com
Page 1 of 2http://www.ft.com/cms/s/2/135cc762-00ad-11e4-a3f2-00144feab7de.html
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The SeekerAzar Lawrence
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July 4, 2014 6:22 pm
By Mike Hobart
The saxophonist rips through a forceful cocktail of pentatonics, split notesand Asiatic scales with controlled abandon
zar Lawrence is a powerful and muscular saxophonist, equally effective ontenor and soprano, and this performance, recorded in New York in 2011,
fairly leaps out of the speakers.
Lawrence rips through a forceful cocktail of pentatonics, split notes and Asiaticscales with controlled abandon on a set that conjures the McCoy Tyner bandshe played with in the early 1970s.
The modal grooves, tightly argued swing and Latin inflections rumble with thethunder of Jeff Watt’s drums and trumpeter Nicholas Payton matches passionwith finesse.
Azar Lawrence
The Seeker
(Sunnyside)
Azar Lawrence: The Seeker – review
