Saxophonist, Composer and Arranger Daniel Rotem Offers an Optimistic View for a United Perspective on New Album Serenading the Future
Visionary saxophonist Daniel Rotem is proud to announce the September 28th release of Serenading the Future. On this magnetic tour-de-force double album, Rotem is joined by violinist Miguel Atwood-Ferguson, pianist Miro Sprague, bassist Alex Boneham, and drummer Roberto Giaquinto. GuitaristJeff Parker is featured on one track and vocalist Erin Bentlage on two.
A follow-up to Rotem’s debut album Be Nice, Serenading the Future reflects upon the saxophonist’s life experiences, the wide-spanning perspective he has gained and the lessons he has learned – “in short, it’s about being alive.”
Upon utilizing this sophomore album as a platform to express the personal meaning he draws from being human, Rotem has led himself to sequentially look forward to the future. As the saxophonist explains, “every moment in the present is already in the past once it is experienced, and the past, as beautiful and glorified as it might be, is merely a memory.” Rotem encourages us to embrace our past moments and experiences, acknowledge our present blessings and so foresee and celebrate the potential in our futures. The Thelonious Monk Institute of Jazz graduate refers to this album as “a tribute to the future that could be - a call to embrace ourselves, recognize the privilege we have to be alive, respect the world we live in and the people around us, and treat our paths with the same care and love we would treat a partner or a child.”
Growing up in Israel to a mixed family of Ashkenazi and Sephardic Jews, Rotem inherited an awareness for the importance and need for unity and universal equality. “I grew up in a family that embraced equality and respect to all people. It is difficult for me to imagine any other scenario - we are all equal, we are all the same, and share similar if not identical fears, hopes, and yearnings.” Combining this perspective with his approach to music, Rotem strives to establish a sonic landscape that highlights the importance of each human involved in its creation. Rather than focusing on any one individual, Daniel Rotem’s compositional and performance process displays the significance of the artistic collective as a whole - the communication and interaction between people as they interpret and create in union. The opening track “Different But The Same” immediately sets the tone. Featuring prolific guitarist Jeff Parker, this pulse-free, meditative track symbolizes the absolute truth that while each member of the human species is individual and unique, as a collective, humans everywhere experience the same angst and concern, aspirations and desires.
Amongst other stand-out tracks from the album is “Who Is It?” - the only song on the record previously recorded on Rotem’s debut. Following his decision to move to Boston to study at Berklee College of Music, where he completed his undergraduate degree, Rotem was feeling both out of place and right where he needed to be. The core genesis of this song is about becoming - who you are vs. who you want to be. While studying at the Thelonious Monk Institute of Jazz Performance, Rotem had the privilege to perform this track alongside Herbie Hancock and Wayne Shorter for the Playboy Jazz Festival. Understandably so, the track still retains a personal significance for the composer.
“Push Through” speaks to those who experience setbacks in their lives. With its repetitive rhythmic motif, it is a reminder for those individuals to never give up, and to continue to trust in themselves, the path they choose to take, their beliefs, perspective and potential. This track exudes an air of solidarity. While “Between Lives” and “Country of Mind” both speak of Rotem’s relationship between Los Angeles and Tel Aviv, “A Cold Ode” was written during a visit to Vermont last December. In contrast to the Mediterranean climate Rotem grew up in, the snowy surroundings he experienced in Vermont were magical for him. He explains, “the motif for this song came as the sun came out of the clouds: it was cold, but there was a scent of hope, a promise of warmth, and it made the cold more beautiful and less painful.” “Conversation on Letting Go”, as well as the Intro for “Country of Mind” were improvised by the band as a collective. Both tracks reflect the nature of the band, and the emphasis on listening to each other as part of the creative process.
The title and closing track of the album, which features Erin Bentlage on vocals, conveys the idea that we can all achieve the future that we want, not just for ourselves but for the world - “It is about proactively chasing our vision for how things should be and not settling for how things are.” With a lyrical, memorable melody, blending the vocals, saxophone, and violin together to the point where it is difficult to distinguish each, this arrangement mirrors the unity Rotem hopes his music creates and emanates.
“There are a lot of things that are happening in the world right now that are completely unacceptable but I believe in our ability to make things right. If we remember to listen at least as much as we speak, and to offer the same respect and love to others as we would like to be offered ourselves, the world would be different. That is the future we are serenading for." Daniel Rotem Notes: Saxophonist, composer, and educator Daniel Rotem fell in love with music at an early age and started playing tenor saxophone when he was thirteen. Now at age 27, Daniel is a graduate of Berklee College of Music in Boston and the world-renowned Thelonious Monk Institute of Jazz Performance at UCLA. He has performed on four continents and has had the honor to share the stage with legendary artists from Herbie Hancock, Wayne Shorter, Dee Dee Bridgewater, Dave Liebman, and Billy Childs, to Stevie Wonder, Usher, and Miguel Atwood-Ferguson. Daniel went on a U.S. State Department Tour to Morocco, and had the privilege of leading and narrating a jazz history masterclass and performance hosted by the First Lady, Mrs. Michelle Obama, as part of International Jazz Day in 2016. Daniel has performed at acclaimed festivals including the Monterey Jazz Festival, the Playboy Jazz Festival, and the Red Sea Jazz Festival, and at famed venues such as The Lincoln Center, The Kennedy Center, the Hollywood Bowl, The Microsoft Theater in LA, and many more. Daniel has taught at the Stanford Jazz Summer Camp and Jazz Institute, and is currently on faculty at the Los Angeles County High School for the Arts (LACHSA), and teaches the LAUSD All-City Jazz Band. His debut album Be Nice was released independently in February 2017.
Ralph Peterson’s ONYX PRODUCTIONS MUSIC LABEL Announces the Release of Two New Albums this Fall with the Gen-Next Big Band and Aggregate Prime
The Gen-Next Big Band: I Remember Bu: Alive Vol. 4 at Scullers
Street Date: October 4; Release Show: October 4, Scullers, Boston, MA
Aggregate Prime: Inward Venture: Alive Vol. 5 at the Side Door
Pre-Release Show: September 29, Beantown Jazz Fest, Boston, MA,
Street Date: October 17; CD Release Shows: October 17-18, Jazz Standard, NYC
Onyx Productions, the music label founded and spearheaded by iconic drummer, bandleader and Berklee professor Ralph Peterson, is proud to announce the release of two new albums this Fall: I Remember Bu: Alive Vol. 4 at Scullers, with the Gen-Next Big Band and Inward Venture: Alive Vol. 5 at the Side Door, with his acclaimed group Aggregate Prime. These two live recordings will be released in the midst of Art Blakey’s 99th birthday celebration this October. In conjunction these releases, Peterson’s Messenger Legacy Band will present a mini-series of concerts this Fall and take part in a live recording to be released in the Spring next year. The fourth and fifth volumes of his ‘Alive’ collection, these forthcoming albums showcase Peterson’s eclectic, wide-ranging musical palette as well as the power of Peterson’s personal perseverance after beating cancer twice.
After making their professional debut at Scullers in Boston in late 2017, the Peterson-led Gen-Next Big Band is now proud to release their debut recording I Remember Bu: Alive Vol. 4 at Scullers, featuring fellow Art Blakey alum DonaldHarrison on October 4th. Following in the Jazz Messenger tradition of mentorship, the Gen-Next Big Band features an exciting lineup of some of Berklee College of Music’s brightest young musicians and employs Blakey’s signature two-drummer format. “Back in 1983, Art Blakey called me to perform with the Jazz Messengers at the Boston Globe Jazz Festival. That concert was transformative in my life and now I have the opportunity to come full circle and extend that experience to these young musicians here.” To celebrate the release, the 20-piece big band will be joined by special guest trombonist Kuumba Frank Lacy at Scullers Jazz Club in Boston, MA, on October 4th.
Onyx Productions’ second release of the year is Inward Venture: Alive Vol. 5 at the Side Door, due out on October 17th with Peterson’s seminal group Aggregate Prime. This quintet features a who’s-who of modern jazz masters including Gary Thomas on tenor saxophone and flute, Mark Whitfield on guitar, Davis Whitfield on piano, Curtis Lundy on bass and Peterson on drums. A follow up to the group’s 2016 debut Dream Deferred, Inward Venture was recorded at the Side Door in Old Lyme, Connecticut earlier this year and showcases the exciting group at their most adventurous. “I am very excited about the progress of this band and this recording shows the immense potential and kinetic energy,” says Peterson. Aggregate Prime will present a pre-release concert on September 29th at the Beantown Jazz Festival in Boston, followed by a two-night official release celebration at the Jazz Standard in New York City on October 17th and 18th.
The last piece of the Onyx Productions trilogy concerns the legacy of Art Blakey. As the last drummer chosen by Blakey to play by his side in the Jazz Messengers, Peterson has a unique responsibility to carry on the Messenger torch and tradition. His Messenger Legacy Band features an elite line-up of Jazz Messenger alumni including BobbyWatson,Essiet Essiet, Geoff Keezer, Brian Lynch and Bill Pierce. The current Messenger Legacy configuration has deep roots: Bill Pierce and Bobby Watson were members of the Jazz Messengers when Peterson first sat in with the group and the final Jazz Messengers arrangement featured Peterson with Essiet Essiet, Geoff Keezer and Brian Lynch.
To commemorate Art Blakey’s 99th birthday, the Messenger Legacy Band will be performing on his birthday, October 11, at Scullers Jazz Club. The next two nights, October 12 and 13, will see the band perform at the Side Door in Old Lyme Connecticut. This performance will be recorded and released next Spring to coincide with a special performance at the Kennedy Center on May 31st.
“Every time I play the drums it is in tribute to Art, but I wanted to do something that goes beyond me, beyond any individual. I wanted to pay tribute in a way that was authentic, genuine, and meaningful not just to a few, but to every person he touched through his music,” says Peterson, adding, “...having multiple generations of Messengers represented in this band, this is the closest you can get to the source.”
In addition to the album releases and coordinating concerts, Peterson will also be touring throughout the season with his trio Triangular (featuring Zaccai and Luques Curtis), The Josh Evans Quintet, the Lainie Cooke Quartet, the Fo’tet and others. See his full tour schedule below.
Ralph Peterson Notes:
Peterson’s prolific recording career began in 1985 with the fabled Blue Note label, with whose house band, OTB (Out of the Blue) he performed as a drummer. He released six Blue Note albums as a leader of different combos, including the “Fo’tet," a quartet whose members have at various times included clarinetist Don Byron, saxophonist Steve Wilson, bassist Belden Bullock and vibraphonist Bryan Carrott. To date, Peterson has released over 20 albums as a leader.
His glittering curriculum vitae includes such names as pianists Walter Davis Jr., Geri Allen and Stanley Cowell; trumpeters Terence Blanchard, Tom Harrell, Jon Faddis and Roy Hargrove; saxophonists Michael Brecker, David Murray, Branford Marsalis and Charles Lloyd and vocalist Betty Carter.
A bandleader and educator for over 30 years and having played a significant role in launching the careers of Sean Jones, Tia Fuller, Justin Faulkner, and Orrin Evans, among many others. Since 2002, he has taught drums and ensembles at Berklee College of Music.
Peterson is also grateful and proud of the manner in which he has prevailed over physical and personal difficulties. He has lived his life “drink and drug-free" for more then 22 years now. He has survived colon cancer and Bell’s Palsy in addition to multiple orthopedic challenges.
In 2010, Peterson founded Onyx Productions Music Label and has released his own music on the label ever since.
Releasing Phil’s music is an honor and we’re incredibly lucky to work with a musician/composer who’s in more in touch with these songs and the inner workings of every aspect of them than ever before. He’s one of the most musically conscious artists we’ve worked with. The depth in which he connects with his bandmates, the audience at live shows, our conversations leading up to this release, as well as his literature writing, has been an adventure.
On a side note, he also wrote the pristine liner notes for Matthew Golombisky’s Cuentos release. This entire album, The Waters Above, works on a whole, interweaving the themes of each so that each has a specific reason for existing. There’s nothing happen-chance here compositionally, though he allows the personalities of the Chicago-based band express themselves freely and openly as to interweave other aspects of the universe in which he finds himself in.
The energy that alto saxist Greg Ward and Schurger create during the complex, rapid-fire and often chromatic melodies is intense, especially when either of them blast off into their individual solos. It’s chilling. And the support that would be needed to keep the energy on the level they are dishing out is catapulted further by the solid and confident rhythm section of bassist Jeff Greene and drummer Clif Wallace. The “brothership” of the group goes deep. Ward and Greene have been playing in each other’s groups, blink. and Fitted Shards for more than 10 years and have multiple records together, on labels such as Thirsty Ear, ears&eyes, Whistler, and Nineteen Eight.
On his second ears&eyes Records release, The Waters Above, guitarist and composer Phil Schurger continues down the path of monumental storytelling through symbols referencing the cosmos, and a curiosity for world cultures. As with with his first release, “Echoes of the Ancestors”, each composition is multi-dimensional and episodic. The opening melodic statement sets the scene, which is followed by solo sections and interludes, crafted to continue the development of the ebbs and flows of the broader story. The band is dynamic in its ability to sculpt the music, whether propelled by Greg Ward and Phil Schurger as the soloists, or Clif Wallace and Jeff Greene’s dynamic rhythm section playing.
"The Water's Above" as an album title, is a reference to the connection between the higher self and the lower self. The linking of these two parts of the being is a common aspect of many meditation paths. On the Tree of Life, this idea is reflected in several ways as one deepens in their understanding of the relationship between the Sephiroth. In Eastern iconography, often you will see a picture of a yogi seated in lotus pose with the image of a guru hovering above their head. Part of the practice of meditation is to create a continuous, conscious link between the upper and lower aspects of the being. In this manner, the normal, everyday mind can become awakened to these higher waters, and tap into the pools of wisdom through the intuition. For it is in the abstract mind that the root of innovation dwells.
The album opens with the streaming, linear composition Scorpio. There are several associations both simple and esoteric at play in the title. Schurger has long been a fan of George Crumb’s works, particularly Makrokosmos. Crumb alludes to his influences by leaving the initials of other composers born under a specific sign. If Schurger were to do the same, the initials would be M.T. (Mark Turner), whose linear approach influenced Schurger in this period of his composing. Ward plays the melody, while Schurger's accompaniment adds highlights both chordally and melodically. The music gives the listener the image of moving through a maze, in which each turn leads to another set of questions, grasping towards a point of arrival. Once the end of the maze is seen, the lines build intensity, ascending as they rush towards it, and then cascade earthward in spiral like melodies to announce the arrival of the solo section. By compositional design, Ward takes the first solo, which starts off subtle and delicate, and slowly builds to a crescendo through the dynamic interaction of the rhythm section. The interaction between all members of the group can be described as complex and intense, dynamic and playful. Wallace’s interactions with Ward’s lines are provocative, and incredibly nuanced. Greene is adept in his balance of creating space when necessary, and then propelling the music forward with intensity and melodic genius. Schurger’s chordal accompaniment provides a beautiful array of textures that guide the improvisation through each section, directing the band through a series of sign posts towards the solo’s peak. This sets up an open bass solo for Greene. His solo is questioning; a curious reprieve, as if one is setting up a plan for their next moves in a game of chess. Once the individual has collected his thoughts, the music starts again, set up by a bass ostinato in 6/4 which sets up Schurger’s solo. The guitar enters mysteriously with ambient volume swells to set the space. Schurger’s improvisational approach is to utilize melodic fragments from the melody as the foundation around which his lines swirl. At different points the fragments are used to propel the solo through various sections, eventually moving from 6/4 to 4/4 time. At this point, the changes modulate from C minor to E minor and the intensity of the music increase as it pushes towards its finale, and the restatement of the opening melody.
Anikulapo is a Yoruban word meaning “He who carries death in a pouch.” Schurger first encountered the word through the Afro-Beat singer Fela “Anikulapo” Kuti. The meaning of the word resonated with Schurger, who had encounters with death in his early life. He states: “I had several brushes with death in my early life. As a result of this, I began to look at the concept of death as a driving force for living life with focus and intention, recognizing that time is our only currency in this physical world. These experiences defined my pursuit of both music and meditation.” Further he states: “Music is an offering for the betterment of our collective community through an ongoing dialogue amongst generations of musicians, and meditation is quite the same. The depth of the work we do opens doors for those who will come after us.” The composition is both vast and mysterious. Quartal chords are used over drones to provide a vast openness of the interludes and solo sections, while the air of the chord melody which comprises the main body of the composition is mysterious and questioning. Of note is Schurger’s solo. He opts to leave linear playing behind, and makes a motific chordal statement. This leaves space for bassist Jeff Greene to take more of an active role.
On “Motion”, the band returns to the intricacies of linear melody. Schurger’s compositions Scorpio, Motion, and the Tower (released on Echoes of the Ancestors), were all written in the same period when Schurger was exploring complex linear structures derived from moving chords as frameworks for melody. The bass groove and drums here are meant to provide contrast, and give the melody a foundation to float over. Schurger again plays a chord melody part to fill out the lines played by Ward. The mood is playful and light. This is one of Schurger’s few straight ahead pieces in which the form is more akin to a jazz standard. The melody is stated, and because of the length of the form, each soloist takes one round through the form. The music relaxes into the groove of the rhythm section, and the melody is restated.
The inspiration for “Yoruba” came from one of Schurger’s early African-American musical mentors, Michael Patterson, who was a student of both Qabalah and West-African religions. Patterson had studied Qabalah with a Panamanian Rabbi who showed him common roots in the practices of both forms of spirituality. He introduced Schurger to the music of the Cuban Santero, Milton Cardona, and the concept of the specific use of rhythms as a ritual language.
The composition opens with a spacious melody over a bass drone, and rubato drums. As the melody contracts, the rhythmic waves of the drums come crashing to a peak to establish time. The melody is restated in-time followed by Ward’s solo. Schurger’s accompaniment, as in Scorpio, is dynamic and propels the band through the form highlighting key points of transition. Schurger touches for a moment on his avant-garde roots as his solo enters free, with the rhythm section playing out of time. The trio slowly starts to bring time in as the music becomes more intense and directed. Schurger’s solo peaks as Ward brings the melody back in. The outro features Ward and Wallace dueling rhythmically to bring the song to a fever pitch as the final chords come slamming down from the full band.
Inclusion is a highly delicate, through-composed work. This is a resting point, and perhaps one of the album’s highlights because of the sensitivity with which the band plays the music. The melody whispers over moving chords, as the drums sculpt delicate passages with mallets throughout. Both Ward and Schurger’s solos are played with a high degree of melodic sensitivity over the changes, while the rhythm section compliments the atmosphere with a sense of expression that allows the music to breathe. After Schurger’s solo, arco bass is accompanied by chord swells in the guitar. The mood is haunting and still as the delicate last breaths of saxophone melody hover above the band.
The images from the song titles all culminate in Nogah. The linear play and mazes of Scorpio and Motion have wound their way to conclusion. The atmoshphere of Anikulapo, and the rhythms of Yoruba have told their stories. The quiet reprieve of Inclusion, brings us into the open waters of Nogah. Nogah is a qabalistic reference to the planet Venus, and the sephirah Netzach on the Tree of Life. The path leading from Netzach to Tiphereth on the Tree is associated with the Water sign of Scorpio, and the tarot card of Death. The opening rubato is a mysterious and dark statement of the melody by Schurger. The ambience is watery in texture, enhanced by the use of thick reverb and flanger. As it closes, the full band enters like waves crashing down on the rocks. The composition’s melody is questioning and contemplative. Schurger’s solo, starts off with a haunting mix of chords and melody, before launching back into the changes of the tune. Here, as in Anikulapo, the solo is motific by intention. Schurger opts to play more melodically, with a blend of lines and chords leaving space for the rhythm section. As the last lines of the solo descend, the band opens into a rubato section with a phrygian melody played first by Schurger, and then with Ward accompanying. As the intensity of the rubato increases, the band comes crashing in to set up Ward’s final, momentous solo of the album.” - Phil Schurger (musician/composer/author)
Recorded at I.V. Labs by Manny Sanchez in Chicago IL USA
Mixed and mastered by Miles Fulwider in Ft. Wayne IN USA
Album layout/design by Rebekah Frey in Ft. Wayne IN USA
OUT TODAY on Artists Recording Collective (ARC) Featuring The Jeff “Siege” Siegel Quartet
Release Shows: August 28: John Birks Gillespie Theater – B’ahai Center of New York, NYC September 6: Release Show at Zinc Bar, NYC September 8: Albany Riverfront Jazz Festival, Albany, NY September 22: Release Show at Rosendale Cafe, Rosendale, NY
Drummer and composer Jeff “Siege” Siegel is proud to release London Live, the fourth album from his esteemed quartet on Artists Recording Collective (ARC) TODAY! Featuring Erica Lindsay on tenor saxophone, Francesca Tanksley on piano and the new and exciting addition of Vienna-native Uli Langthaler on bass, The Jeff “Siege” Siegel Quartet recorded London Live - their second live recording - at Pizza Express Jazz Club, London on the closing night of their fourth European tour as a group in 2010. This eight track opus, which includes six originals - three by Siegel, two by Lindsay and one by Tanksley - alongside Coltrane’s “Peace on Earth” and the African American spiritual “I Want Jesus to Walk With Me”, is penned by the stalwart drummer as a “hard hitting 60’s set”.
On November 3, 2010, having left their last destination on tour in Europe (Marktoberdorf, Germany – Bavaria), the quartet took the train to Munich, flew to London, made their way into the city, got lost, had a taxi adventure and eventually found their way to their hotel. In an unfortunate coincidence, the city’s metro went on strike shortly after their arrival, meaning that many people who would have come to the show at Pizza Express Jazz Club couldn’t make it out of fear of not having a way home. Nevertheless, the group closed their European tour that night in London after two weeks in Germany and Austria and as it conveniently turned out, were given the opportunity to have this concert recorded and videoed.
The album opens with Erica Lindsay’s “Meet Me at the Station”, a composition on which the saxophonist reflects upon life on the road. With the inclusion of “Peace on Earth” and “I Want Jesus to Walk With Me”, Siegel pays homage to two inspiring musicians, whom he has had the pleasure of working with. “Peace on Earth” – a John Coltrane tune – was introduced to Siegel by master saxophonist Dave Liebman, with whom the renowned drummer performed back in 2009 in The Hague, Netherlands at the IASJ. “I Want Jesus to Walk With Me”, arranged by the late, great multi-instrumentalist Arthur Rhames, whom Siegel worked with upon his entrance to New York City in the early 1980s, is performed here in a Latin style as opposed to rubato/swing, reminiscent of how Siegel performed it in the Arthur Rhames Quartet. Inspired by the tuning and drum solo of Elvin Jones from the composition “The Drum Thing” on Coltrane’s “Crescent”, “Crescent Sound” is Siegel’s original composition and ode to the legendary saxophonist. “M Song” is a ballad in honor of the drummer’s wife of 34 years, Myra, while “A New Freedom” is a moving piece written by Francesca Tanksley that, in her words “..offers a sense of freedom – a freedom of the spirit”. “Art’s Message” is a composition, evocative of the Jazz Messengers, led by the legendary drummer Art Blakey. Lastly, “First Movement” is the quartet’s take on Erica Lindsay’s original composition from her 1989 debut album, which first drew Siegel to her writing: “I identified so much with the style of her writing and she remains one of my favorite composers.”
On this experience as a whole, Siegel notes, “we were able to have this concert recorded and videoed and we hope you enjoy the experience of hearing a band after performing several nights on tour. The luxury of working every night together is unfortunately a rare thing these days so we were grateful for this opportunity [to record live] on our 4th European tour as a band, with the new addition of Uli”.
Jeff Siegel Notes:
Drummer/Composer Jeff “Siege” Siegel is a veteran of the New York Jazz scene and has worked with a virtual “who’s who” of artists. He came onto the New York scene in 1980-83 as a member of the quartet of the legendary multi-instrumentalist Arthur Rhames. After six years with the group Second Sight, which featured trumpeter Dave Douglas, Siegel became a member of the Sir Roland Hanna Trio from 1994-’99. From the years 1990 – present he has co-led several touring ensembles as well as The Jeff “Siege” SiegelQuartet. Simultaneously, from 2001 – 2015 Siegel was also a member of the Lee Shaw Trio with whom he also produced several cds and a dvd. Besides leading his own quartet/quintet/sextet, Jeff is a member of the Levin Brothers band and tours and records with them regularly. In addition, Jeff has performed/and or recorded as well with an array of international artists in his travels including European artists Johannes Enders, Esa Pietila, Nils Wogrom, Jaromir Honzak, Harry Sokol, Torsten Goods, Julian and Roman Wasserfuhr, Cecile Verny , Michael Lutzeier, Nick Smart, Kirke Karja, South African trumpeter Feya Faku, singer Tutu Puoane and The South Africa Tribute Big Band and Brazilian and Argentinian musicians such as, Filo Machado, Robenare Marques, Marcelo Jesuino, Raphael Simpaio and Ale Demogli. Siegel’s diverse career has also led him to perform and/or record with legends such as Ron Carter, Kenny Burrell, Jack DeJohnette, Pat Metheny, Benny Golson, Frank Foster, Sheila Jordan, Helen Merrill, Mose Allison, John Medeski, Stefon Harris, Kurt Elling, Ravi Coltrane, Ryan Kisor, Steve Wilson, John Medeski, Dena DeRose, Dave Liebman, Pete & Tony Levin, Steve Turre, and many others. He has worked in the avant-garde world as well with artists such as Wadada Leo Smith, Baikida Carroll and Esa Pietila. He has performed over 30 European tours including four as leader of the Jeff “Siege” Siegel Quartet and several others as co-leader at various festivals, concert venues and clubs. His touring has also led to performances and clinics throughout the United States, South Africa, South America, China and Canada. As an educator, Siegel is a faculty member at The New School for Jazz and Contemporary Music, Western Connecticut State University, and The State University of New York at New Paltz. He holds a Masters Degree in Jazz from Queens College where he studied composition with Jimmy Heath. He has been the recipient of several grants from Meet the Composer and endorses Canopus Drums, Beato Bags and Vic Firth Drum Sticks.