John Wojciechowski, a saxophonist, is an urban musician. He was born in Detroit, where he developed his strong tenor voice. Since 2002, he has been thriving in Chicago, playing alongside some of the most renowned players in the city. He lives in Bartlett, a suburb of Chicago. It takes him half an hour to get to one of the major highways into the city. Is it affecting his music that he lives so far from the action? Answer to the first question is “Wojo” (as he is commonly known) teaches high school in St. Charles, which is where he is one of the few jazz musicians who can do that. Answer to the second question is no, being away from all the noise and traffic is a good thing for artists. It allows you to. . . focus. It helped Wojciechowski to focus on Focus, a remarkable improvement over his previous album Lexicon. Focus features seven original compositions that reflect Wojciechowski’s style and personality. It is one of those albums that you can enjoy and it is an album that allows you to challenge stylistic boundaries and create new ideas. Wojciechowski is supported by a tight knit group including pianist Ryan Cohan and bassist Dennis Carroll. His music ranges from the heavy, earthy “Summon the Elders,” which has a modal sound that recalls John Coltrane and Pharoah Sands, to the bottom-up inventions in the title cut, to the 3/4-patterned dancing of “Twirl,” where he showcases his lyrical tenor-saxophone sound. Focus’ two covers reveal Wojciechowski’s compositional talent. He rewrites Thelonious Monk’s “Evidence” using the Latin arrangement and reharmonizing techniques he displayed at the 1996 Thelonious Monk Competition. He placed third behind Jon Gordon, Jimmy Greene and Jimmy Greene. He shows his love for Joe Henderson and Sonny Rollins by giving Dave Brubeck’s timeless “In Your Own Sweet Way”, a coiled, melodically expansive alto reading. Then there’s “Call of the Kingdom”, which started as an unaccompanied drum intro by Hall to “Summon the Elders”, but became a powerful compositional statement of itself that Hall gave it its own track and Hall a songwriting credit. Elvin Jones and other percussive musicians would be proud. Wojciechowski, 41, was born in Mount Clemens (Michigan), 24 miles northwest Detroit. His father was a sheet metal worker during the day and a jazz pianist at night, in the style of Richard “Groove” Holmes, Jimmy McGriff and Don Patterson. Young John began playing music when he was eight years old. He learned how to play “Somewhere, My Love”, his grandmother’s favorite song (“Lara’s Theme”) by ear using a melodica. His father recognized his son’s talent and asked him which instrument he wanted. Wojciechowski explains that he chose the accordion to please his grandmother. He said, “Pick again.” I picked the saxophone for its unique sound. Sonny Stitt was his favorite alto, and he made a huge contribution to many organ groups in that era. Wojciechowski went to great lengths to find his son an excellent teacher, and he found one in Gerry Gravelle. Wojciechowski says that he knew all the vocabulary. He was playing alto saxophone and clarinet by middle school, which is a rare skill for someone this young. He was also fluent in the Great American Songbook. John was in high school when he had already studied with George Benson, a respected saxophonist and crooning guitarist who appeared on many Motown records. Although Wojciechowski never intended to teach, his jazz mentors convinced him that it would be a smart idea to pursue a music education degree. He did so at Western Michigan University. He went to New York after graduating, but he realized that he didn’t want “to live there forever” because he was too young and too fast. He returned to Detroit and began teaching. After that, he continued his playing of the tenor saxophone. His wife, who had been laid off from her job as an advertising executive, found a job in Chicago. His friend Gerald Cleaver (the brilliant drummer) had just left Detroit to find work. Wojciechowski decided to make the move to Chicago. He says, “I knew people there.” “I knew that the scene was great.” He knew that there would be opportunities to prove his worth. In no time at all, he found himself in such impressive settings as the Chicago Jazz Orchestra, of which he was a member when trumpeter/flugelhornist Clark Terry headed up a new recording of Porgy and Bess. After a few other jobs, he started teaching at St. Charles North High school in 2004. The teaching job did not limit his creativity. It helped him grow his artistic skills. At St. Charles, he teaches Jazz Bands, Music Theory, and, by popular demand–the administration’s–Orchestra. He studied Beethoven extensively to prepare for Orchestra, which was something he hadn’t taught before. His jazz sensibility has absorbed classical elements over the years, much like the sounds of Motown did when his ears were young. He says that one of his greatest breakthroughs as an composer was learning to let go of his own ways. Instead of trying to make things happen I let my subconscious do the work. “Elegy,” a touching piece dedicated to his father, was written two years ago. It captures both the gentleness and the struggles he went through when dealing with illness. Wojciechowski says, “I don’t often do programmatic pieces, but this was really an original composition.” Cohan’s beautiful, flowing solo contrasts with the more hard-edged, tenor solo that drives the song home. “Divided Man” reflects Wojciechowski’s dual life as a high-school teacher and jazz musician. It boasts two sections but is a beautifully balanced piece that demonstrates the deep-seated unity within this band. Wojciechowski has been playing in Chicago with Dana Hall, Dennis Carroll and other musicians for almost the same time. Many jazz musicians love Carroll’s ability to challenge them harmonically and push him to new places. Wojciechowski also praises Carroll’s rich textural skills. Hall is a Chicago treasure, and his recent accomplishments include an extended work inspired Richard Wright’s novel Native Son. This was commissioned Chicago’s Symphony Center. Wojciechowski says that it felt like Hall and Carroll had been playing together for a long time. “We both hear the beat exactly the same way. Many times, I know exactly what he is going to play. He’s always there when I need him to be. Hall was first played in a band that was led by Joan Hickey. Hall, Carroll, guitarist Dave Miller and pianist Ron Perrillo all appeared on Lexicon 2009 Hall’s “spring” saxophonist was also featured by the drummer during a live performance Charles Lloyd’s 1965 recording, Of Course. Of Course. Wojciechowski has also performed with Laurence Hobgood, pianist/arranger, and such talented young artists as Jacob Sacks and Jeff Campbell. Wojciechowski is a skilled sideman and leader, as well as having a great understanding of the present. The title of one his songs, which he has previously mentioned, was inspired by Cohan’s exclamation “You really summoned elders!” After one of his performances, you will see where Detroit meets Chicago and where learning meets teaching. You will also see where dedication meets execution. John Wojciechowski, a saxophonist, is an urban musician. He was born in Detroit, where he developed his strong tenor voice. Since 2002, he has been thriving in Chicago, playing alongside some of the most renowned players in the city. He lives in Bartlett, a suburb of Chicago. It takes him half an hour to get to one of the major highways into the city. Is it affecting his music that he lives so far from the action? Answer to the first question is “Wojo” (as he is commonly known) teaches high school in St. Charles, which is where he is one of the few jazz musicians who can do that. Answer to the second question is no, being away from all the noise and traffic is a good thing for artists. It allows you to. . . focus. It helped Wojciechowski to focus on Focus, a remarkable improvement over his previous album Lexicon. Focus features seven original compositions that reflect Wojciechowski’s style and personality. It is one of those albums that you can enjoy and it is one of the most enjoyable. Wojciechowski is supported by a tight knit group including pianist Ryan Cohan and bassist Dennis Carroll. His music ranges from the earthy intensity in “Summon the Elders,” which recalls John Coltrane and Pharoah Sands, to the bottom-up inventions that are cut to the 3/4-patterned dance moves of “Twirl,” where he displays his lyrical tenor Saxophone sound. Focus’ two covers reveal Wojciechowski’s compositional talent. He rewrites Thelonious Monk’s “Evidence” using the Latin arrangement and reharmonizing techniques he displayed at the 1996 Thelonious Monk Competition. He placed third behind Jon Gordon, Jimmy Greene and Jimmy Greene. He shows his love for Joe Henderson and Sonny Rollins by giving Dave Brubeck’s timeless “In Your Own Sweet Way”, a coiled, melodically expansive alto reading. Then there’s “Call of the Kingdom”, which started as an unaccompanied drum intro by Hall to “Summon the Elders”, but became a powerful compositional statement of itself that Hall gave it its own track and Hall a songwriting credit. Elvin Jones and other percussive musicians would be proud. Wojciechowski, 41, was born in Mount Clemens (Michigan), 24 miles northwest Detroit. His father was a sheet metal worker during the day and a jazz pianist at night, in the style of Richard “Groove” Holmes, Jimmy McGriff and Don Patterson. Young John began playing music when he was eight years old. He learned how to play “Somewhere, My Love”, his grandmother’s favorite song (“Lara’s Theme”) by ear using a melodica. His father recognized his son’s talent and asked him which instrument he wanted. Wojciechowski explains that he chose the accordion to please his grandmother. He said, “Pick again.” I picked the saxophone for its unique sound. Sonny Stitt was his favorite alto, and he made a huge contribution to many organ groups in that era. Wojciechowski went to great lengths to find his son an excellent teacher, and he found one in Gerry Gravelle. Wojciechowski says that he knew all the vocabulary. He was playing alto saxophone and clarinet by middle school, which is a rare skill for someone this young. He was also fluent in the Great American Songbook. John was in high school when he had already studied with George Benson, a respected saxophonist and crooning guitarist who appeared on many Motown records. Although Wojciechowski never intended to teach, his jazz mentors convinced him that it would be a smart idea to pursue a music education degree. He did so at Western Michigan University. He went to New York after graduating, but he realized that he didn’t want “to live there forever” because he was too young and too fast. He returned to Detroit and began teaching. After that, he continued his playing of the tenor saxophone. His wife, who had been laid off from her job as an advertising executive, found a job in Chicago. His friend Gerald Cleaver (the brilliant drummer) had just left Detroit to find work. Wojciechowski decided to make the move to Chicago. He says, “I knew people there.” “I knew that the scene was great.” He knew there would be opportunities to prove his worth. In no time at all, he found himself in such impressive settings as the Chicago Jazz Orchestra, of which he was a member when trumpeter/flugelhornist Clark Terry headed up a new recording of Porgy and Bess. After a few other jobs, he started teaching at St. Charles North High school in 2004. The teaching job did not limit his creativity. It helped him grow his artistic skills. At St. Charles, he teaches Jazz Bands, Music Theory, and, by popular demand–the administration’s–Orchestra. He studied Beethoven extensively to prepare for Orchestra, which was something he hadn’t taught before. His jazz sensibility has absorbed classical elements over the years, much like the sounds of Motown did when his ears were young. He says that one of his greatest breakthroughs as an composer was learning to let go of his own ways. Instead of trying to make things happen I let my subconscious do the work. “Elegy,” a touching piece dedicated to his father, was written two years ago. It captures both the gentleness and the struggles he went through when dealing with illness. Wojciechowski says, “I don’t often do programmatic pieces, but this was really an original composition.” Cohan’s beautiful, flowing solo contrasts with the more hard-edged, tenor solo that drives the song home. “Divided Man”, which is Wojciechowski’s dual life as a jazz musician and high school teacher, has two sections. It is a beautifully composed piece that demonstrates the deep-seated unity this band shares. Wojciechowski has been playing in Chicago with Dana Hall, Dennis Carroll and other musicians for almost the same time. Many jazz musicians love Carroll’s ability to challenge them harmonically and push him to new places. Wojciechowski also praises Carroll’s rich textural skills. Hall is a Chicago treasure, and his recent accomplishments include an extended work inspired Richard Wright’s novel Native Son. This was commissioned Chicago’s Symphony Center. Wojciechowski says that it felt like Hall and Carroll had been playing together for a long time. “We both hear the beat exactly the same way. Many times, I know exactly what he is going to play. He’s always there when I need him to be. Hall was first played in a band that was led by Joan Hickey. Hall, Carroll, guitarist Dave Miller and pianist Ron Perrillo all appeared on Lexicon 2009 Hall’s “spring” saxophonist was also featured by the drummer during a live performance Charles Lloyd’s 1965 recording, Of Course. Of Course. Wojciechowski has also performed with Laurence Hobgood, pianist and arranger, in his first post-Kurt Elliott band, as well as with young talents such as Joel Adams, trombonist Joel Adams, and Jeff Campbell, bassist. Wojciechowski is a skilled sideman and leader, as well as having a great understanding of the present. The title of one his songs, which he has previously mentioned, was inspired by Cohan’s exclamation “You really summoned elders!” After one of his performances, you will see where Detroit meets Chicago and where learning meets teaching. You will also see where dedication meets execution. John Wojciechowski, a saxophonist, is an urban musician. He was born in Detroit, where he developed his strong tenor voice. Since 2002, he has been thriving in Chicago, playing alongside some of the most renowned players in the city. He lives in Bartlett, a suburb of Chicago. It takes him half an hour to get to one of the major highways into the city. Is it affecting his music that he lives so far from the action? Answer to the first question is “Wojo” (as he is commonly known) teaches high school in St. Charles, which is where he is one of the few jazz musicians who can do that. Answer to the second question is no, being away from all the noise and traffic is not a bad thing. It allows you to. . . focus. It helped Wojciechowski to focus on Focus, a remarkable improvement over his previous album Lexicon. Focus features seven original compositions that reflect Wojciechowski’s style and personality. It is one of those albums that you can enjoy and it’s one of the most enjoyable. Wojciechowski is supported by a tight knit group including pianist Ryan Cohan and bassist Dennis Carroll. His music ranges from the earthy intensity in “Summon the Elders”, a spell-casting modal piece that recalls John Coltrane and Pharoah Sands, to the bottom-up inventions and 3/4 patterns of the title cut. He also showcases his lyrical tenor Saxophone sound on “Twirl.” Focus’ two covers reveal Wojciechowski’s compositional talent. He rewrites Thelonious Monk’s “Evidence” using the Latin arrangement and reharmonizing techniques he displayed at the 1996 Thelonious Monk Competition. He placed third behind Jon Gordon, Jimmy Greene and Jimmy Greene. He shows his love for Joe Henderson and Sonny Rollins by giving Dave Brubeck’s timeless “In Your Own Sweet Way”, a coiled, melodically expansive alto reading. Then there’s “Call of the Kingdom”, which started as an unaccompanied drum intro by Hall to “Summon the Elders”, but became a powerful compositional statement of itself that Hall gave it its own track and Hall a songwriting credit. Elvin Jones and other percussive musicians would be proud. Wojciechowski, 41, was born in Mount Clemens (Michigan), 24 miles northwest Detroit. His father was a sheet metal worker during the day and a jazz pianist at night, in the style of Richard “Groove” Holmes, Jimmy McGriff and Don Patterson. Young John began playing music when he was eight years old. He learned how to play “Somewhere, My Love”, his grandmother’s favorite song (“Lara’s Theme”) by ear using a melodica. His father recognized his son’s talent and asked him which instrument he wanted. Wojciechowski explains that he chose the accordion to please his grandmother. He said, “Pick again.” I picked the saxophone for its unique sound. Sonny Stitt was his favorite alto, and he made a huge contribution to many organ groups in that era. Wojciechowski went to great lengths to find his son an excellent teacher, and he found one in Gerry Gravelle. Wojciechowski says that he knew all the vocabulary. He was playing alto saxophone and clarinet by middle school, which is a rare skill for someone this young. He was also fluent in the Great American Songbook. John was in high school when he had already studied with George Benson, a respected saxophonist and crooner who appeared on many Motown records. Although Wojciechowski never intended to teach, his jazz mentors convinced him that it would be a smart idea to pursue a music education degree. He did so at Western Michigan University. He went to New York after graduating, but he realized that he didn’t want “to live there forever” because he was too young and too fast. He returned to Detroit and began teaching. After that, he continued his playing of the tenor saxophone. His wife, who had been laid off from her job as an advertising executive, found a job in Chicago. His friend Gerald Cleaver (the brilliant drummer) had just left Detroit to find work. Wojciechowski decided to make the move to Chicago. He says, “I knew people there.” “I knew that the scene was great.” He knew there would be opportunities to prove his worth. In no time at all, he found himself in such impressive settings as the Chicago Jazz Orchestra, of which he was a member when trumpeter/flugelhornist Clark Terry headed up a new recording of Porgy and Bess. After a few other jobs, he started teaching at St. Charles North High school in 2004. The teaching job did not limit his creativity. It helped him grow his artistic skills. At St. Charles, he teaches Jazz Bands, Music Theory, and, by popular demand–the administration’s–Orchestra. He studied Beethoven extensively to prepare for Orchestra, which was something he hadn’t taught before. His jazz sensibility has absorbed classical elements over the years, much like the sounds of Motown did when his ears were young. He says that one of his greatest breakthroughs as an composer was learning to let go of his own ways. Instead of trying to make things happen I let my subconscious do the work. “Elegy,” a touching piece dedicated to his father, was written two years ago. It captures both the gentleness and the struggles he went through when dealing with illness. Wojciechowski says, “I don’t often do programmatic pieces, but this was really an original composition.” Cohan’s beautiful, flowing solo contrasts with the more hard-edged, tenor solo that drives the song home. “Divided Man,” which is Wojciechowski’s dual life as a jazz musician and high school teacher, has two sections. It is a beautifully composed piece that demonstrates the deep-seated unity this band shares. Wojciechowski has been playing in Chicago with Dana Hall, Dennis Carroll and other musicians for almost the same time. Many jazz musicians love Carroll’s ability to challenge them harmonically and push him to new places. Wojciechowski also praises Carroll’s rich textural skills. Hall is a Chicago treasure, and his recent accomplishments include an extended work inspired Richard Wright’s novel Native Son. This was commissioned Chicago’s Symphony Center. Wojciechowski says that it felt like Hall and Carroll had been playing together for a long time. “We both hear the beat exactly the same way. Many times, I know exactly what he is going to play. He’s always there when I need him to be. Hall was first played in a band that was led by Joan Hickey. Hall, Carroll, guitarist Dave Miller and pianist Ron Perrillo all appeared on Lexicon 2009 Hall’s “spring” saxophonist was also featured by the drummer during a live performance Charles Lloyd’s 1965 recording, Of Course. Of Course. Wojciechowski has also performed with Laurence Hobgood, pianist/arranger, and such talented young artists as Jacob Sacks and Jeff Campbell. Wojciechowski is able to lead his own band or continue his distinguished career as a sideman. His song title was inspired by Cohan’s exclamation “You really summoned elders!” After one of his performances, Wojciechowski shows us where Detroit meets Chicago and where learning meets teaching and dedication meets execution. From www.jwojojazz.com
