Boston doesn't get enough credit as a jazz town. From the days of the Storyville club and Cambridge-based Transition label to the star factory that is Berklee College of Music, the city stands tall against more celebrated places like Chicago and Detroit. One big part of that high level of creative output is Jerry Bergonzi who, for this date, leads his most Bostonian band in recent memory, reuniting with trumpeter pal Phil Grenadier and drummer Luther Gray. Bassist Harvie S came up from New York for the gig and it was he who suggested guitarist Sheryl Bailey for the album. She completes the Boston connection with her position as the Assistant Chair of Berklee's legendary Guitar Department. "To work with Jerry and study and perform his music is the definition of a dream come true," says Bailey who has played with artists ranging from Ken Peplowski to Shingo Okudaira. Here, Bergonzi has convened a fine band for a compelling album, another feather in Boston's tricorn hat.

A fount of harmonic ingenuity, melodic integrity, and rhythmic authority, Jerry Bergonzi has long been a standard-bearer of sorts for the jazz community. A prolific composer prone to taking deep dives that put serious theory into profound practice, his discography is filled with smart and imaginative originals that twist and turn in unexpected fashion. But a passion for standard gems of yesteryear, the lingua franca of jazz, also fires his creative impulses and figures into his work. In fact, the tried-and-true classics serve as a source of limitless potential for his horn. This follow-up to his Spotlight on Standards session once again features Bergonzi's slightly off-center take on the tenor-organ-drums trio format while the songs on this set list function as both reminders about Bergonzi's eminence in the jazz world and love letters from the man to the music. "I just adore the melodies of these tunes. I love standards. People always tell me, 'Man, you've got to make more records like this,'" Bergonzi says, "and I'm happy to oblige. I'm just delighted that Savant is totally behind me and this music."

2019 release from the jazz tenor saxophonist. "I've been fortunate to have performed with so many wonderful musicians in the past but I live in the present and it hasn't stopped. I certainly enjoy what I'm doing these days." The consistently intriguing Seven Rays is yet another accomplishment in Jerry Bergonzi's productive and significant career. It finds the great the saxophonist reveling in jagged, tightly coiled phrases and steeped in remote harmonic progressions. His angular riffs, unexpected silences and big, barreling low pitches continue to underline how personal Bergonzi's approach to jazz is. Yet the charismatic nature of his delivery and the steely brilliance of his tone proves so compelling that his art speaks eloquently to both the esoteric theoreticians and the most casual of listeners.

There's an old saying that a great jazz musician never plays a song the same way once. That could certainly be said of Jerry Bergonzi. He is an intellectual artist of uncompromising integrity and a bold, original composer. On Jerry's new Savant recording he returns to the organ-tenor trio format after a long hiatus from it. From the opening track, Cy Coleman's "Witchcraft" with it's hypnotic organ vamp and "bewitching" chord substitutions Jerry gives to the first 8 bars, you know this isn't going to be your parents' organ-tenor gig. Bergonzi and his discmates, Renato Chicco on organ and Andrea Michelutti on drums, take these standards down new harmonic paths and use them as a launching pad for fertile and impressive improvisation. The playing is always intense and distinctive, fresh and spontaneous.

This new release is a live opera performance, recorded at the Bologna Teatro on November 28, 1961. Oliviero De Fabritiis conducts this outstanding performance of Giuseppe Verdi’s Ballo in maschera. This performance features Leyla Gencer, Carlo Bergonzi, and Mario Zanasi.

When I go into the studio with these guys, it's not like I feel pressure. It's like, oh boy, let's go have some fun, ays saxophonist Jerry Bergonzi, recalling how his previous Savant recordings came together. In short, the acclaimed veteran didn't want the fun to end. So now here we have another terrific recording to complement the reedman's impressive Savant discography and another chance to delight in the exceptionally responsive company he keeps. Revelling in the company of long-time partners bassist Dave Santoro and drummer Andrea Michelutti, Jerry also brings Pasadena-born pianist Bruce Barth into the studio. Jerry doesn't often record with a pianist a€" when one cuts their musical teeth with a pianist like Dave Brubeck the titan's shadow must loom large over the keyboard but he and Bruce have become muy simpatico over the years and their interplay here is remarkable indeed. With Jerry's imaginative compositions and his intense approach to music-making, this is jazz that cuts you no quarter. The whole session swings, communicates and challenges as only Jerry Bergonzi can.

Jerry Bergonzi's quintessentially modern tenor sax style melds the linear, chromatic approach of such greats as Joe Henderson, Wayne Shorter and John Coltrane. Featuring pianist Bruce Barth and trumpeter Phil Grenadier, this is Bergonzi's first quintet recording for Savant Records and finds in him in fine form as a player and as a composer.

You encounter nothing but sheer musicality when it comes to the Boston saxophonist Jerry Bergonzi. But Bergonzi's no-nonsense approach to music cannot mask the fact that he is one of the most remarkable jazz saxophonists on the planet. Here Bergonzi is backed by his usual colleagues, Dave Santoro and Andrea Michelutti plus he is joined by pianist Bruce Barth. Featuring a program mostly of Bergonzi's quirky compositions the musicians work together with a uniformity of intent and vision that perfectly personifies the title, CONVERGENCE.

“Dick Oatts and Jerry Bergonzi have stacked up a formidable total of 67 years of playing experience on the highly competitive New York scene, and that wealth of nous is evident in this rousing collaboration…..” (Mark Gardner – from the linernotes)

Andy LaVerne’s ongoing duo projects find the pianist this time in the company of his contemporary (both Bergonzi and LaVerne were born in 1947). Sharing the common taste and experience in music their mutual respect and admiration are evident throughout this album. Saxophonist Jerry Bergonzi is also a renowned educator whose work is vastly appreciated and respected by his numerous students and colleagues. “… There is never any shortage of momentum in these performances which are deftly swinging and never give the slightest impression of being forced or in any sense incomplete … ! (Mark Gardner)