BIOGRAPHY
Q&A
Doug Stone’s versatility as a jazz saxophonist, improviser, and composer can be heard on his recordings as a leader – Motion (Outside in Music), and The Early Riser (self-released) – as well as his recordings as a co-leader and sideman – Doug Stone/Marcelo Magalhaes Pinto Quartet, Shifting Perspectives (Ears & Eyes Records), Facing West Quartet, Facing West (Outside in Music), Justin Haynes Big Band, In A Funk (self-released), Quintopus, The Adjacent Possible (Ears & Eyes Records), Matthew Golombisky’s Cuentos, Volume 4 (Ears & Eyes Records), and many more. Stone maintains an active national and international performing and touring schedule, and is a first call musician in New Orleans, LA, with groups including The John Mahoney Septet, Reid Poole’s Boppin’ Five, the Victory Swing Orchestra, and in Baton Rouge, LA, with the Florida Street Blowhards, among others.
In addition to Stone’s teaching duties at Louisiana State University, he is a sought-after clinician and presenter at schools and jazz camps for students of all age levels both nationally and internationally. He has presented workshops on jazz, improvisation, and composition in Belo Horizonte, Brazil, Medellin and Bogota, Colombia, and at jazz festivals in Texas, Utah, Wisconsin, and Illinois. In the summers, Stone teaches and performs with the Birch Creek Jazz Orchestra, at the esteemed Birch Creek Music Performance Center in Egg Harbor, WI. His book Stepping Stones Through Improvisation: From Day One to the Big Gig (Low Down Publishing) is a useful resource for school jazz ensembles and individuals.
At Louisiana State University, Stone directs the acclaimed LSU Jazz Ensemble, coaches chamber jazz ensembles, teaches applied lessons in jazz saxophone and improvisation, and teaches courses in jazz pedagogy and career preparedness. He has also served as the president of the Louisiana Association for Jazz Education and jazz division chair of the Louisiana Music Educators Association.
Q. What brought you to jazz? Do you remember hearing or playing a specific piece that sparked your attraction to the field?
A: My dad loved Maynard Ferguson, Buddy Rich and lots of other jazz. So, even before I began playing saxophone, I knew and loved jazz. I even brought a cassette tape of Maynard Ferguson's "Primal Scream" for show-and-tell in first grade. My dad took me to a Maynard Ferguson concert in Kewanee, Ill. when I was in third grade. Although Maynard was impressive as always, I enjoyed watching and listening to the saxophone players, and on the way home from the concert I told my dad I would like to try the saxophone. His barber also happened to be a very active and talented saxophone player in Peoria, Ill., my hometown, and I started lessons within a couple months. That first teacher, Dave Parkinson, taught me the chromatic scale, and then we started improvising with Jamey Aebersold play-along recordings! I have played jazz since the beginning.
Q. How are you coping with social distancing / working from home? What tips do you have for fellow musicians (and people in general) to keep spirits up and artistic passion satisfied during these crazy times?
A: I have four young boys, so most of my days have been spent working with them and doing the necessary housework and chores. It has been amazing to spend such quality time with my family! We are really thriving mentally and emotionally as a result of this unforeseen break. I have some other projects that I wish I had time to work on, but with the responsibilities I have right now, I do not have a moment to spare in the day. So working from home has actually led to a busier schedule than normal.
Most of the people with whom I associate have plenty of work to do, from their professional lives to their family lives and many other responsibilities. I think taking care of your family, friends and neighbors should be a focus during this time. I also find it very helpful to count my blessings each day.
Q. Can you speak to the significance of events like this for young musicians -- the opportunity to network with and learn from professional musicians from outside their own community?
A: Jazz education is alive and well in America and throughout the world and has been for decades. Many times, schools are where young people are first exposed to jazz. Currently, the majority of college jazz majors cite high school jazz band experiences as the impetus for their chosen career path. If you enter a high school band room and ask if there is anyone who listens to music they would consider jazz, I guarantee you would get multiple hands in the air. It is a wonderful time to be a jazz musician and student of jazz.
There are great jazz musicians in every city I have ever lived in or visited. It is quite common for guests from other regions to be brought in as clinicians at festivals. Outside clinicians can bring fresh ears to the music. Networking is also a huge part of a career in music. Although there are thousands and thousands of jazz musicians around the world, the community sometimes feels very small as connections are made.
Q&A pulled from the Arkansas Democrat Gazette 2020
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DISCOGRAPHY
The first half of the concert closed with my “Nasty Dance”, a Joe Lovano feature from Mel Lewis days. I am starting there because of the tenor playing of Doug Stone. To even play this piece is hard enough but Doug took it to places I had not imagined—it was virtuoso playing on the highest plane and I frankly don’t know how he managed it. When you “show your ass” to the world, it better be blemish- free—his shone like a baby. His other solo offerings were good too, but this was a performance I won’t forget. I wouldn’t hire him, I’d kidnap him.
- Bob Brookmeyer
