Saxophone Journal - Jan-Feb, 2002
by Skip Spratt
Saxophone Journal - Jan-Feb, 2002
by Skip Spratt
Baron Raymonde (pronounced Raymonday) has been busy performing and recording
R&B saxophone in the New York City area for over a decade. In that time, he has
compiled an impressive list of credits which includes his most recent 42-city
tour of the USA and Canada with Rod Stewart. As a featured instrumentalist with
Rod, Baron played no less than six instruments.
Known primarily as a rock and R&B guy, Baron has toured and performed with Matt
"Guitar" Murphy of Blues Brothers fame, The Blues Brothers Band, The G.E. Smith Band, The Hiram Bullock Band, Sister Sledge, Buster Poindexter and Taylor Dayne.
He has also backed classic rock artists including Bobby Rydell, Frankie Avalon,
Fabian, The Temptations and Four Tops, as well as The Coasters and The Drifters.
Hes quick to mention that hes not just a "rock guy" but is a better-rounded saxophonist who has performed with Manhattan Transfer and toured with
Artie Shaw Orchestra under the direction of Dick Johnson. In his own words, "I
know how to play rock".
baron's presence can be felt on the World Wide Web these days with his new site
SaxBaron.com. Hes got links to his tour dates and performances. An especially
nice link to his "smooth jazz" CD on Mp3.com. He has five cuts uploaded which
are all funky but "smooth" only at times. Its not your typical fare from smooth
jazz radio. His sound is bright, sometimes aggressive and very passionate. What
really draws you to his music are that he doesnt waste a single note on top of the great grooves provided by George Witty. Not once did he play a flurry of
notes and runs as some popular soloists like Kenny G or guitarist Eddie Van
Halen might. Every note counts. His influences are obvious but hes got his own
twist on a familiar sound.
I first met Baron somewhere on the Internet - most likely a saxophone site. Soon
Thereafter, I was getting regular e-mails telling of his upcoming performances in
NYC with different bands, many times filled with New Yorks best known rock
musicians. One e-mail had a picture of Baron complete with his "rock saxophone
stage persona" attached. Another was a reminder of his upcoming appearance with
Rod Stewart on the Rosie ODonnell Show. I was intrigued. It was on that show
that I first heard him play.
The interview started with our minds on September 11 events but gradually shifted to
our common interest - the saxophone.
The tragedy of September 11 is on everyone's mind. you're so involved in the NY
scene. Have the recent events affected you personally?
Fortunately for me, no they havent. I have a friend who is a guitar player and he was in the
Holland Tunnel, near Ground Zero. He is having a tough time dealing with what he
experienced when he exited the tunnel in Manhattan. What was really strange was
that I had a Friday night gig set for September 14 at the World Trade Center that was
obviously canceled.
That must have been a very strange feeling. What was that gig all about and
where was the club?
It was to be in "Windows of the World". They were going to feature a different
artist each week. It was something new they were trying.
You really didnt have a long history with that club. This was something new?
Bob Magnusson recommended me. He does a lot of commercial work. He couldnt do
it so he recommended me.
It was never meant to happen.
No. It wasnt. Ill tell you, there are lots of players concerned about shows.
Ive been subbing on Love Janice at the Village Theater. Lots of players are concerned about the attendance of the shows, as many people in New York are. I was actually supposed to
do the show but I got called to do the tour with Rod (Stewart).
I remember seeing you on the Rosie ODonnell Show playing with Rod Stewart.
Yes, that was my first gig with Rod. I played tenor on "Tonight is the Night".
How did that first gig and the resulting tour with Rod come about?
Rods keyboardist, Chuck Kentis, recommended me. He used to live in Nutley, New Jersey,
where I live. Rod actually wanted a female sax player. He was doing a benefit in
New York for the "City of Hope" when he heard me play.
He was thinking he wanted a girl, but he heard you and decided to go with you?
Yeah. Thats how I did the summer with him. Hes great. Ill tell you something.
When I first played with him he asked me to play like Ben Webster. I noticed
hed listen to Charlie Parker.
Thats hip! Rod Stewart is obviously a good musician with some depth there.
Oh yes, a lot. When I played on tour I played six instruments: flute, clarinet, soprano, alto, tenor and baritone sax. He had me bring penny whistles but I
didnt actually use them. I needed a penny whistle pitched in Db but they are
hard to come by. Theres about a year wait for them to be made. We tried clarinet on
it and it sounded really good. The tune was "I Wish I Knew What I Knew When I
Was Younger".
So. it was clarinet in Db concert? There are worse keys.
Yes. (laughs) Most people in NY know me as an R&B saxophonist, particularly the
alto, but I do play all the saxophones, flute and clarinet.
Do you play keys or sing on gigs?
I have and I do, but mostly its just playing saxophone. As I said, with Rod I
played six instruments.
How did your affinity for playing the sax rather than piano come about?
When I was nine, up in Westchester County, I wanted to play French horn, but
then my friend wanted to play sax. I started playing concert band on sax in
school and really got into it. I was still playing piano, but my heart was into the saxophone. Playing the piano, I always felt alone but playing with the band
I felt like I was part of the whole thing. I started to learn to improvise in Junior
High. We actually recorded a record, played "In the Mood" and other stuff like
that. I guess when I got into high school I lost the interest in piano. My heart
was into the saxophone. I played alto and later tenor, depending on what they
needed.
I was looking at schools like Berklee, Eastman, Indiana, Miami, and the New England
Conservatory, North Texas...
North Texas won out I see.
Well, I kept seeing that they (One O'clock Jazz Band) were nominated for Grammy
Awards and Lyle Mays had written one (composition). I ended up going
there. I had just seen a lot of guys from Saturday Night Live and a lot of
people who played on a lot of records went there. I heard it was a really good
brass school and it was affordable.
They really emphasized reading,, which was good. I guess I was better as a soloist early on. My piano reading had helped a lot, though. There was a lot of
competition down there. At first I made the last band or something like that. I
dont remember exactly what it was. It was a good experience. There were a lot
of great musicians there. There were a lot of big bands. There were like nine
lab bands.
Theyre all named for the time they meet, right?
Right. Exactly.
The One O'clock Band was supposed to be the best band?
Right. I did concerts with the One O'clock Band, but I was in graduate school at
that time. I wasnt officially (in that band). I played lead alto in the Two
O'clock Band. They offered me a scholarship to go to graduate school. Thats when I played
with the One O'clock Band.
Did they put you to work as a Graduate Assistant?
No, it was actually a jazz scholarship. Actually, at that point I didnt
officially play in the One O'clock Band but I did some concerts with them. I was
just there to finish up schoolÖThey were really great musicians. I learned how important ensemble playing and reading isÖI started gigging in Dallas and Fort
Worth. Dave Liebman stayed with us for a while. All of it was a good learning
experience.
At North Texas was there any sax teacher in particular whom you found
influential?
I studied with Steve Duke, was grad assistant who was really good. He was
probably the best teacher I had there. He teaches college in Illinois now. When
I came back to NY I studied with Eddie Daniels and took some lessons with George
Young.
How did you end up getting back to NY after being in Denton, Texas?
When I used to come home to visit Id play some gigs. I played in this band
called the Toasters. So I figured Id go back and give it a shot.
Thats a huge big band school. To look at your bio, you have really channeled
yourself into rock and commercial playing. How did it come to be that you got so
heavily into R&B and Rock?
Actually, when I was in high school I really liked a lot of rock bands. I
remember listening to Tom Scott and Ernie Watts. They did a lot of
commercial/rock solos. I got turned onto the blues too. My first album I bought
was T-Bone Walker. It might have been Mono Debango. I wasnt sure if it was him
on that, but I remember listen to him and saying "oh, thats cool". I liked the
stuff I would hear with King Curtis, Junior Walker, the sax player with Stevie
Winwood. When I went to North Texas, I focused more on the jazz and modes and
really got into that for a while. I was paying my own way through school by
playing funk and R&B in Dallas and Fort Worth with a couple different bands.
How much of the financial aspect of playing commercial music came into play with
you playing so much rock? We all know you wont get rich playing jazz.
At first I had a love for commercial music. Then at North Texas I still had a
commercial sound. I wasnt so jazz-oriented even there. Just somehow I became more adept at playing commercially. I just sort of gravitated toward that.
It called you, rather than you calling it.
Yes. You find your way. When I got older I thought, "Good, Im glad Im doing
this."
So, you were a "rocker" from the beginning.
Actually, my mother sang classical opera, but my father wanted me to be a
classical pianist.
Well, you didnt quite make them happy. (laughs)
(Baron laughs)
It sounds like an interesting start for an R&B sax player! When did you start
playing and where are you from?
I was born in New York City. I lived in Queens until I was eight and then we moved up to Westchester. I started piano first at Carnegie Hall Studios on top of Carnegie
Hall. I studied with Amelia Del Terzo. When I was three, I started at the Dalcroze School in New York City.
Your family was full of performers?
My mother was a singer. My grandfather was a magician. Thats how I got my last
Name - Raymonde. He was actually Hungarian. That was his show name, "The Great Raymonde". He knew Houdini and Blackstone. My great uncle, Aladare DiSio, was a
violinist from Hungary as well. He had a Gypsy orchestra and played in the NBC
Orchestra. Basically, my father was brought up by my great uncle.
So much of what you do while performing is visual. How do you look at image and
movement on stage versus the music you play? Is seems there has to be a balance
between good musicianship and good showmanship.
I agree with you. Being in music school, you're just taught the music and thats
great...but you're right. When you do a rock gig, its more than just the music.
Its your image. Thats why I wear those outfits in the pictures - because it
looks good on the big screen. Yeah, it has to do with the image and the
attitude.
Does moving around when you're playing come natural or is that something you do
just for the camera?
Im one that likes to move around unless Im in the studio. In the studio I
dont like to move around too much (because of mic placement). I like to get into it that way. I feel free that way. Plus, when you're playing a big rock concert and its a big stage, you've got to "work the audience". To me, movement is part of that. If you're playing a big venue like Jones Beach, you work the venue.
you're talking to a guy whos been on his share of bars and on top of tables...
(laughs) Strolling, right?
All that stuff. (laughs)
You remember Lou Marini doing that in The Blues Brothers Movie?
Absolutely. Blue Lou Marini!
Hes a friend of mine and I play in his band sometimes. Its called the Nuff Brothers.
Matt Murphy (of the Blues Brothers) was the first guy to bring me out on the
road. Playing with him was a big influence. Playing with Lou Marini and the
Blues Brothers was a big influence.
Did you ever actually play in a place that had chicken wire in front of the
stage like in the Blues Brothers Movie?
No, but CLOSE in North Dakota! (laughs)
Im assuming you have a wireless setup. You have your own or does the production company on tour supply you with one?
When you're playing a big production thing, they usually have everyone use the
same equipment. They have it all set up that way. I actually have used an AKG
system. Now I use an Audio Technica when Im using my own setup in smaller
venues.
Do you have a favorite studio mic?
Ill tell you what, a friend of mine who owns Unique Recording in NYC let me try
out about 20 different mics. Of course I like the higher end mics like the
Neumann, but I found the Sennheiser 421 is very good. Ive also been using the
Shure Beta 57A. I really like it. I have Pro Tools at home and have recorded
with the 57A in the kitchen and it sounds really good!
Do you have a whole rig you go out with? Effects or anything?
No, not really. I used to do that. Its been a long time since Ive done that. I
just bring the Audio Technica, which needs phantom power.
So, you leave most of the equipment stuff up to the soundman and you just worry
about the horn.
Right. One thing thats real important to me is sound. When I was younger, I used
to sneak down to the Village Vanguard in New York. They wouldnt let me in but I used
to stand at the stairs and watch Dexter Gordon. He used to fill the room with
sound and I thought, "Wow, I want to sound like that where I can fill the room
with sound like he does!"
Do you have a warm up or practice routine?
I always warm up and then do some type of scale work and patterns. Then I work
on whatever music Im working on. Long tones are REAL important for me. Ive
always done those.
What sax players do you like to listen to?
I like Eddie Harris, Tom Scott, Ernie Watts, Wayne Shorter, Sanborn is great. I
like Maceo Parker a lot. Hes great.
Theres something very "Sanbornesque" in your picture on your web site. You play
a little off center in the mouth with a very high angle coming out of the mouth.
Yeah, I play off to the side a little on the alto. When I was at North Texas, I was told I sounded like Sanborn a lot but Ive gotten away from that over the
years. I wouldnt play at that angle on tenor or bari.
Yeah, some guys play with a more downward angle on tenor, sort of like the many
pictures of Trane. Theoretically, you're not supposed to play that way, but
whatever works, right?
That sometimes can look cool. Looks like the typical sax player thing. I know
when I was playing with Rod, theyd have me up on the big screen. Id look in
the TV monitor and it did look cool! (Laughs)
Inevitably the conversation always turns to equipment in a saxophone interview.
Saxophonists (yours truly included) on the whole seem to have a fixation on
the combination of reeds, mouthpieces and ligatures that they use - and with good
reason. Obviously, with regard to equipment, the single most important factor
in producing the desired saxophone sound lies in the combination of reed,
mouthpiece and ligature. We always talk about it. Some deny that they are "equipment hounds" yet change mouthpieces as often as the New England weather.
In talking at length with Baron, I found that he constantly had to dig out his
equipment from gig bag to road case to tell me what he plays on. It soon became
apparent that he has not memorized the configuration of each set up. That being
said, baron's equipment helps him do the job, but never did I get the impression
that equipment was a big concern of his. Thats sometimes refreshing when so
many saxophonists place a greater emphasis on their equipment rather than their
playing. My two-cents worth.
Alto
3 Yamaha Altos Favorite: Silver Custom 875
Phil Barone Metal Mouthpiece .085, Vandoren V16 #3 or 3 1/2 Reeds, Optima
ligature.
Tenor
Selmer Mark VI (180,000 or later) Vandoren Metal V16 and a Keilworth. Vandoren
traditional.
Soprano
Selmer Mark VI Phil Barone Metal. V16 reeds, Olegature.
Baritone
Selmer Mark VI Rico Graphite mouthpiece. Fibracell, theyre louder for rock gigs
3 1/2
Prima Sanyo Flute
Clarinet
B46 Vandoren Mouthpiece, Traditional 3 1/2 Vandoren Reeds
Hard Rubber Artley Clarinet that I like cause it has a bigger bore. It projects
more and plays in tune. For what I do I like it. I dont think Id use it on a
show though. I found out about it from some guys who played a lot of Dixieland.
Its not like your typical plastic clarinet. I really like it.
Whats the best gig you've ever played?
I played with Matt Guitar Murphy from the Blues Brothers. Playing at the King
Biscuit Blues Festival in Helena Arkansas. I guess its the crossroad where
Robert Johnson meets with the devil. They actually have the stage at the
crossroad. I thought that was great. Playing with Rod was great. When the
curtains opened with the audience just going crazy - its a rush!
Whats in the works for the future?
Im playing at the Kennedy Center with G.E. Smith and Im playing at the Mohegan Sun with the Mohegan Sun All-Stars. We just put a CD out. Maceo Parker did just record with Shelby Lynne, who just won a Grammy. Ive got a bunch of other stuff coming out. I do a lot of horn arranging these days. Im getting into that more. A few years ago, I got my teaching certificate at William
Patterson.
I guess teaching is a possibility at some point. Where do you see yourself years
from now?
Thats a hard question to answer...I want to give back with my music. Ive got
my teaching certificate. As long as I can give back what Ive learned. I guess I
just want to be able to give my music to people.
Baron endorses Vandoren Reeds and Ligatures and you can find out more about him
at SaxBaron.com .
