Virtuoso soprano saxophonist Grover Washington, Jr. electrifies the bandstand on this explosive edition of Billy Taylor’s Jazz at the Kennedy Center. Washington’s dazzling performance demonstrates the skill and versatility that have helped him to win numerous Grammy Awards. But we also learn about his diligence and dedication to the jazz tradition. Before joining Dr. Taylor and the audience in engaging conversation, Washington kicks off the show with "Autumn Leaves," painting a colorful harmonic spectrum in the process.

When Dr. Taylor comments on his distinctive sound, Washington says he strives to project a sound that is something between a flute and a flugel horn. This helps him fend off the nasally sound often associated with soprano saxophonists. He elaborates, "when I was coming up, it wasn’t so much about the notes, it’s about the story that you told." Washington cites Gene Ammons, Coleman Hawkins, Cannonball Adderly, and Oliver Nelson as being among the great sax players who influenced his own style. He also recalls listening to Fletcher Henderson and Billy Eckstine records as a kid. Washington’s signature sound shines through on a bluesy rendition of Nelson’s "Stolen Moments."

Grover doesn’t like to be categorized, and quotes the great Duke Ellington in saying there are only two types of music, "good and bad." He continues, "And if it’s bad…you need to go back to the woodshed and take care of business. I find myself there quite often." Washington explains that his strong self-discipline accounts for his abilities on the instrument. His wizardry didn’t come easily; it is the fruit of hard work that this audience enjoys. Growing up in Buffalo, NY, Washington’s mother taught him to have high standards and practice, even when the lessons seemed boring and simplistic. She told him, "it may be ‘Twinkle, Twinkle Little Star’ but make it the most beautiful ‘Twinkle, Twinkle Little Star’ you possibly can."

Grover’s first jazz teacher was saxophonist and trumpeter Elvin Shepard, who taught him how to play the piano as a means to decipher harmonically complex solos. Eager to explore a career in music, Washington took summer classes throughout high school so that he could graduate early. He moved to Columbus, OH where he worked with saxophonists Rusty Bryant, Bobby Miller and Hank Marr. Dr. Taylor and Grover recall some of the great players from Ohio who never became nationally known. Washington attests to the quality of such players, "Never judge anyone, because you don’t know what they’re bringing to the table, and usually [it’s] a whole buffet!"

After the laughter subsides, Dr. Taylor highlights Washington’s versatility and proficiency with ballads. Grover says he listens closely to singers for phrasing and memorizes the words, in order to feel the song and accurately reflect the rhythm and lyric instrumentally. The proof of such forethought and preparation is apparent in his lovely rendition of "I’m Glad There’s You."

One member of the audience says he found Washington’s opening number "head spinning." He asks which players had a similar effect on Grover when he was starting out. Without hesitation, Washington replies, [trumpeter] "Miles Davis", but quickly adds saxophonists Dexter Gordon, Sonny Stitt, Ammons and Adderly to the list. Washington says these great musicians opened his eyes to the possibilities for individual expression with any melody. He then demonstrates with a line from "Autumn Leaves."

As he elaborates on his own debt to those artists who went before him, Washington says that music is a "gift" that must be continually passed on to others, musicians and audiences alike. Sage words, but Grover backs them up with his music. He delivers an outstanding and very personal rendition of Duke Ellington’s "Come Sunday" before bringing down the house with Miles Davis’ "Seven Steps to Heaven."

Don't miss Grover Washington Jr. in our Photo Gallery!