I glancingly mentioned in this post that while I’m very active musically things have gone in unexpected directions in recent years: “more alto and less tenor, more clarinet and less flute, and much more jazz and almost no original music.”

The biggest change is that I’m playing a lot of jazz, both in ensembles and small groups. I wouldn’t have guessed that even three or four years ago, as I mostly stopped playing jazz gigs about a decade ago. More surprising, though, is that over the last ~18 months or so, alto has become my primary jazz horn in large ensemble contexts, such as lead alto in big bands (including The Anderson Big Band and Buffalo Jazz & Swing) and the like. Until recently, alto was my primary saxophone in only classical and pit orchestra contexts, and it was a secondary (at best) or tertiary horn in all other styles. But when opportunities arose and I was regularly asked to play alto and associated doubles, I’d say “yes,” and each “yes” led to another offer and acceptance, and so on. I regularly have long stretches during which I publicly play tenor the least behind alto, soprano, and baritone (usually in that order). It’s been a (mostly) fun challenge, though it can be stressful, as I don’t always consider it “home.” It remains shocking to learn that some people associate me with that horn.

Another development, one without qualms or qualifications, is my frequently playing soprano saxophone in public again. I’ve been digging into playing traditional jazz regularly with The Back Room Jazz Band (and occasionally others). It’s been a wonderful opportunity to both play that horn regularly (along with some clarinet, which is less enjoyable) outside of the house as well as play that style of music. It’s somewhat of a full circle moment, as traditional (i.e., Dixieland) jazz, hot jazz, and the like were some of the first styles of jazz I listened to regularly in high school thanks to faithfully tuning into Riverwalk Jazz every Sunday on terrestrial radio. (And I still listen to the archive hosted by Stanford University.) I’ve long been fond of that sound, but it’s rare to have an opportunity to play in a traditional instrumentation including tuba, banjo, and trombone. While I have a long way to go, regularly setting foot in that world has been rewarding. (A nice photo of The Back Room Jazz Band at the 2026 Lewiston Jazz Festival is at the top of this page.)

The increased clarinet playing has been tricky. I broke my foot several years ago and took the extra time I gained by not running for several months to consciously work to improve my clarinet chops. This was partially out of necessity, as I was getting more work for it. But also, I’ve never really enjoyed the instrument, so my goal was to dislike it less if nothing else. It’s since paid off, including even getting some work on bass clarinet (when doing big band work on bari) and Eb clarinet (pit orchestra), but it’s still a problematic relationship, albeit less than before.

I’ve done very little original music in recent years, but that’s okay, all things considered. While it’s something I’d like to explore again (in the right context), I only have so much time. Moreover, aside from known quantities with whom I’ve made music before, going down the original music or capital-B “Band” route with new folks can be daunting. I’m happy to be a regular sideman and/or hired gun.

The only thing I’m really missing is a regular classical outlet, but that’s not easy to come by as a saxophonist unless I work to create something, and I don’t have the bandwidth for such now. It’s nothing I’m losing sleep over. I’ve been able to get in through the side door here and there for some miscellaneous jobs, which is good enough at this juncture.

Other than a general update on musical activities, I suppose my point is that you never know what paths may arise. A few years ago, I assumed it was all rock/pop and ambient with the occasional pit and no jazz for the rest of the time, and now it’s an entirely different formula and balance.