260 S. Church Ave
DAVID HAZELTINE is one of a handful of contemporary pianists who has mastered all of the major musical skills, from improvisation and technique, to accompaniment, arranging, and composition. Even more impressive, David is the rare artist able to innovate in each category. Thus it’s no surprise that he’s the most recorded contemporary jazz pianist of our time, having recorded thirty five cd’s as a leader and hundreds more as a sideman, on various major labels globally. A Milwaukee native, David was playing the clubs as a preteen, and before he’d even come of age he was already grabbing the attention and respect of jazz legends like Sonny Stitt, and Chet Baker. They urged him to make the move to New York City, which he did in 1992.
David’s style appeals to a wide range of musical tastes and levels of sophistication. His melodies and harmonies are beautifully complex and memorable. As a composer and instrumentalist, he has developed a signature style that is readily recognizable. His cooperative group “One For All” featuring tenor great Eric Alexander, has attained critical acclaim with their impressive 16 cd discography, and live concerts worldwide including appearances at the North Sea Jazz Festival and the Newport Jazz Festival.
Boasting a warm, finely burnished tone and a robust melodic and harmonic imagination, tenor saxophonist ERIC ALEXANDER has been exploring new musical worlds from the outset. He started out on piano as a six-year-old, took up clarinet at nine, switched to alto sax when he was 12, and converted to tenor when jazz became his obsession during his one year at the University of Indiana, Bloomington (1986-87). At William Paterson College in New Jersey he advanced his studies under the tutelage of Harold Mabern, Joe Lovano, Rufus Reid, and others. “The people I listened to in college are still the cats that are influencing me today,” says Alexander. “Monk, Dizzy, Sonny Stitt, Clifford Brown, Sonny Rollins, Jackie McLean, Joe Henderson–the legacy left by Bird and all the bebop pioneers, that language and that feel, that’s the bread and butter of everything I do. George Coleman remains a big influence because of his very hip harmonic approach, and I’m still listening all the time to Coltrane because I feel that even in the wildest moments of his mid- to late-Sixties solos I can find these little kernels of melodic information and find ways to employ them in my own playing.”