One of the first jazz flute role models, Sam Most -- born in 1930 -- made his name in the 1950s and early 1960s with the bands of, among others, Buddy Rich, Louie Bellson and Teddy Wilson. Most of the intervening years have been spent in the Hollywood studios or with pick-up bands in small Los Angeles nightclubs.
>One of the first great jazz flutists, a cool-toned tenor, and a fine (if infrequent) clarinetist, Sam Most is the younger brother of clarinetist Abe Most. He picked up early experience playing with the orchestras of Tommy Dorsey (1948), Boyd Raeburn, and Don Redman. By the time he led his first session (1953), Most was a brilliant flutist (among the first to sing through his flute) and he briefly had the jazz field to himself. Most recorded fine sessions for Prestige, Debut (reissued on Xanadu), Vanguard, and Bethlehem during 1953-1958, doubling on clarinet. He also worked in different settings with Chris Connor, Paul Quinichette, and Teddy Wilson. After playing with Buddy Rich's Orchestra (1959-1961), he moved to Los Angeles and became a studio musician. Sam Most worked with Red Norvo and Louie Bellson, gained some new prominence with his Xanadu recordings of 1976-1979, and became a local fixture in Los Angeles, sometimes playing in clubs with his brother.
A Southern California native, Sal Lozano is a freelance woodwind player. He is a featured member of bands led by such notable musicians as Louie Bellson, Tom Kubis, and Gordon Goodwin. A few of the artists Sal has also recorded with include Christina Aguilera, Will Smith, Mandy Moore, Stevie Wonder, Lalo Schifrin, Brian McKnight, Robbie Williams,Keely Smith Jessica Simpson, Barbra Streisand, Joey DeFrancesco Maynard Ferguson and Natalie Cole.
Occupying the principal chair at the Ahmanson Theatre in Los Angeles keeps him busy as well. His credits include Fosse, Caroline or Change, Play Without Words and The Full Monty. As a soloist, Sal has appeared with the Pacific Symphony and The San Diego Symphony and the Riverside Philharmonic.
Sal has been a member of the Emmy Awards Orchestra for the past 5 years as well as the American Idol House Band. He has also performed at the Gala for the President at Ford's Theatre in Washington D.C. Other television credits include Dancing With the Stars, The Grammy Awards, Latin Grammy Awards, ESPY Awards, America’s Funniest Home Videos, The Jerry Lewis Labor Day Telethon, Touched by an Angel, The Tonight Show, Warner Brothers Cartoons, Commander in Chief and numerous National Commercials.
Motion Picture credits include Man About Town, Just Like Heaven, Coach Carter, Vegas Vacation, National Treasure, The Last Shot, Ice Princess, Legally Blonde 2 and Disney’s Beauty and the Beast.
Sal is currently a Professor of Saxophone at California State University,
Long Beach and has served as director of Jazz Studies at California State University, Fullerton. He conducts clinics and master classes across the country. He is also a clinician for Disney's Magic Music Days Workshops at the Disneyland Resort in Anaheim, Ca. Sal is also a clinician for Disney's All American College Band at Disneyland and at Walt Disney World in Orlando, Florida
Education: Cal State Long Beach. Former student of Greg Adams, Leo Potts, John Barcelona, Jim Walker, and Jim Kanter.
Roger was honored by the Los Angeles Jazz Society September, 2002 for his work as a jazz composer and arranger at the 20th Annual Jazz Tribute and Awards Dinner Concert at the Millennium Biltmore Hotel in Los Angeles. Roger, who plays the saxophone, flute and clarinet, was honored along with internationally acclaimed jazz pianist, Herbie Hancock, John Levey, Annie Ross, James Newton, Howard Rumsey and Gerald Clayton. The Los Angeles Jazz Society is an organization founded in 1985 with the purpose of promoting, preserving and perpetuating the American art form of Jazz, while elevating the community of jazz and jazz artists.
Roger has produced three CD’s entitled, "Introducing Roger Neumann’s Rather Large Band," "Instant Heat!" and "This is my Lucky Day, featuring the vocal talents of his wife, Madeline Vergari. As an arranger and composer, Neumann has written for Buddy Rich, Count Bassie, Ray Charles, The Raelettes, Ray Brown, The Beach Boys, Jerry Garcia, Ann Jillian and many more. He has written arrangements and compositions for the T.V. series, "The Young and the Restless," "Moonlighting," "Hollywood Housewives," and My Favorite Martian." He has also composed arrangements for several "Ice Capades" Christmas specials. Neumann has performed with Woody Herman, Lee Castle/Jimmy Dorsey Band, The Beach Boys, Ray Anthony, Les Brown, and Bob Crosby to name a few. His music has been featured on the sound-tracks of several Showtime movies including, "Three Men and a Little Lady," and "Mumford." He has appeared in the movies, "LaBamba," "My Favorite Year," and "For the Boys."
Neumann encourages aspiring young jazz musicians to practice their craft and to listen to as many Jazz CDs as possible "We teach them to practice their scales and master their instruments," said Neumann who has been playing the sax since he was 8 years old. "The most exciting and fun part is getting up and improvising. We help the young people work up the courage to get up and try it. The more you do it the better you get and the better you get, the more fun it is," Neumann said.
After receiving his Bachelor of Music Education degree from Morningside College in Sioux City, Iowa, Roger traveled with the Jack Gillespie Band and the Lee Castle/Jimmy Dorsey Band. Always striving to improve, he studied and taught at the Berklee College of Music in Boston for 2 years at which time (1967) he joined the Woody Herman Band. As a saxophonist, he has worked for Bob Crosby, Ray Conniff, The Beach Boys, Ray Anthony and Anita ODay. As a composer and arranger, he has written for Buddy Rich, Count Basie, Ray Charles, The Raelettes, Ray Brown and The Beach Boys. Many of the Tentets charts are Rogers. Finally he is the leader of The Roger Neumanns Rather Large Band.
Neumann, who plays the saxophone, flute and clarinet, will be honored along with internationally acclaimed jazz pianist, Herbie Hancock, John Levey, Annie Ross, James Newton Howard Rumsey and Gerald Clayton, during the evening ceremony. Neumann said he is honored to be recognized by the Los Angeles Jazz Society. The Los Angeles Jazz Society is an organization founded in 1985 with the purpose of promoting, preserving and perpetuating the American art form of Jazz, while elevating the community of jazz and jazz artists.
As an arranger and composer, Neumann has written for Buddy Rich, Count Bassie, Ray Charles, The Raelettes, Ray Brown, The Beach Boys, Jerry Garcia, Ann Jillian and many more. He has written arrangements and compositions for the T.V. series, “The Young and the Restless,” “Moonlightling,” “Hollywood Housewives,” and My Favorite Martian.” He has also composed arrangements for several “Ice Capades” Christmas specials.
Neumann has performed on his sax, with Woody Herman, Lee Castle/Jimmy Dorsey Band, The Beach Boys, Ray Anthony, Les Brown, and Bob Crosby to name a few. His music has been featured on the sound-tracks of several Showtime movies including, “Three Men and a Little Lady,” and “Mumford.” He has appeared in the movies, “LaBamba,” “My Favorite Year,” and “For the Boys.”
Rick Rossi is a multi-talented performer, composer and arranger. He plays all of the saxophones, flutes and clarinets. He has composed and arranged music for film and television soundtracks, as well as for various artists, bands and CD projects such as The Brian Setzer Orchestra and a grammy-nominated composition for the P. Rainey Coalition. He has performed on The Tonight Show with Jay Leno, David Letterman, Regis and Kathie Lee, Conan O'Brian, MTV, VH-1 and Good Morning America. The list of legendary artists he has worked with includes Frank Sinatra, Tony Bennett, Ray Charles, Cher, Stanley Clarke, Englebert Humperdink, Rosemary Clooney, Tommy Dorsey, Bobbie Womack, George Duke and Bobbie Caldwell.
In 1998 he recorded and was featured on the Grammy Award-winning, multi-platinum CD The Dirty Boogie with The Brian Setzer Orchestra, with whom he also toured as a featured soloist on alto sax and clarinet. In fact, he has played all over the world, in all types and sizes of venues. Among the more recognizable of these are the Greek Theater (LA), The Hollywood Bowl (LA), The Pantages (LA), The Palladium (LA), The Blue Note in both New York and Japan, and The House of Blues in New Orleans, LA, & Chicago. In addition he has performed in over 25 Broadway shows, including Cats, Phantom of The Opera, A Chorus Line, West Side Story and Les Miserables.
Because of his skill and proficiency with so many instruments he is in high demand for studio work. His experience ranges from cartoon and TV commercial recordings to feature films. LA Confidential, Mambo Kings, The Nutty Professor, Star Trek: 1st Contact, For The Boys, The Rat Pack and Blue Velvet are on his long list of feature credits and Drew Carey, ER, Friends, Bay Watch, Murphy Brown, Beverly Hills 90210 and West Wing are among his many TV credits.
Rick has recorded soundtracks and appeared in such current films as "The Nutty Professor", "StarTrek-First Contact", "Primal Fear", and played with Tito Puente in The Mambo Kings". He has composed music for such TV shows as Baywatch and the Wayan Bros. Show and has performed with practically every living Las Vegas performer, such as Tony Bennett, Frank Sinatra, Linda Ronstadt, Bette Midler as well as scores of Broadway shows and in horn sections with such notables as REM and Neil Young and Glenn Frye.
Rick loves all styles of music and feels that Los Angeles has given him the opportunity to realize his dreams of being able to be able to play with the best musicians in the world . " I love the variety that L.A. gives me in terms of being able to play everything from classical music to rock and roll. It keep me from getting bored or stale with any one style, but my real passion is jazz, in addition to music composition which also gives me a lot of sat
The musical work of Richie Cole includes an impressive list of recordings as well as performances with the legendary bands of Buddy Rich, Doc Severnsen, and Lionel Hampton. During the 1970's, along with his partner Eddie Jefferson, he revolutionized the art of jazz vocalese.
As musical director of the Manhattan Transfer during their "gold record" years, Richie's music and arrangements further enhanced the popularity and success of this idiom.
Richie has three performances at Carnegie Hall and two performances at Radio City Music Hall to his credit, as well as a command performance the Queen of England. He also served as chairman of the board for the National Endowment for the Arts in Washington D.C.
He works extensively with high school and college music programs as a clinician. Richie has captivated audiences all over the world with performances filled with excitement, high energy and emotion from be-bop to ballads. His current CD releases include "West Side Story" and "Come Sunday."
His most recent venture, the Alto Madness Orchestra, brilliantly captures the much-loved big band sound in a small group setting using only four horns.
In addition to appearing on the covers of Downbeat, Jazz Times, Swing Journal, and Musicians Magazine, he has worked as a clinician for Selmer and Yamaha Saxophones.
Alto saxophonist Richie Cole, with more than a quarter century of contributions to the jazz world under his belt, is perhaps best known for his four-year partnership with the late Eddie Jefferson.
The road was Jefferson and Cole's home. The pair toured the States in Cole's minivan, playing just about everywhere until 1979, when Jefferson was gunned down, gangland-style, outside Baker's Keyboard Lounge in Detroit. Cole's memories of Jefferson and the times haven't faded with the years: "A day doesn't go by that I don't think about the man. He was the world's greatest pure jazz singer."
Cole fell in love with jazz as a youngster, listening to the music at his father's jazz club in Trenton, New Jersey. He got his first horn at the age of 10, and while in high school, he was tutored by Phil Woods, with whom he later recorded the album Side By Side for Muse Records.
A tenure with Buddy Rich's big band beginning in 1969 is also included in Cole's professional career, as are stints in the 1970's with Doc Severinsen, Lionel Hampton and others. In the early 1980's he served as saxophonist for Manhattan Transfer, but has spent most of the last 15 years leading his own bands.
Although he's made over two dozen albums as a leader, Cole has gained much of his renown and success from a touring schedule that few other jazz artists can match. His live performances, seasoned liberally with the madcap humor that has become his trademark, continuously delight audiences that extend well beyond hard core jazz purists. His popularity as an entertainer has netted Cole a sizeable and enthusiastic following - one that consistently places him high in reader's polls conducted by Down Beat, Swing Journal, and other jazz publications.
With such a long and storied recording career, Richie Cole's four-year absence from the studio ended well with Profile, his first recording for Heads Up. A maker of jazz moments for more than a quarter of a century, the alto saxophonist feels that his work on Profile is as strong as it's ever been. "I feel more centered on my music, so my music is clearer," he says.
Old and new friends make up Cole's crew for Profile. The lead song, "Presidential Sax," recalls the work of bebop composer/arranger Todd Dameron, and the smoking out-chorus where Cole and new labelmate Henry Johnson play as one just demands attention. The altoist's relationship with pianist Dick Hindman goes back to Denver and Clyde's Pub in 1977, and Richie holds him in high respect: "Whenever we work together, I consider him my musical director." Drummer Scott Morris and Cole have worked together since 1982, when Morris was a member of what Richie jokingly calls his "Bebop Band from Hell," which featured Filipino pianist Bobby Enriquez and guitarist Bruce Forman. Bassists Seward McCanin and Frank Passantino and pianist/synthesist Rich Kuhns have been with Richie for several years, and Cole rates them all as "very solid players."
More than satisfied with the results on Profile, Cole states "I'm trying to stretch myself one day at a time, express myself one day at a time, playing from a traditional jazz background yet always keeping my ears open to what's happening currently." Profile is clearly vintage Cole - still on the road, but right at home, where he belongs, in the jazz world.
The return to an active performance and recording career by altoist Richie Cole is one of the happier events in the jazz world of the Nineties. Cole is quick to delegate credit for the success of his second Heads Up release Kush: The Music of Dizzy Gillespie. "It was Dave Love's idea for me to record a set of Dizzy Gillespie tunes and I was very agreeable," says Cole. "This was the first time I'd met Bob Belden, who arranged all of the music. He kept the writing simple but it was very effective, putting me in a lot of different settings, from an 18-piece band down to a trio with two guitars. I basically just had the melody of the song written out with the chords, and Bob would point at me and say 'Play!' or wave me out and say 'Stop!' We did the whole album in one day, just six hours."
Of the impressive sidemen, several of the more notable players have worked extensively with Cole in the past. "Vic Juris and Ray Mantilla have been playing with me for over 15 years, while Jack Walrath and Sam Burtis and I went to Berklee together in Boston," explains Cole. "Paquito D'Rivera and I have known each other for quite a while but, while we've played several concerts, this is the first time we've actually recorded together."
In making a tribute recording, Cole reminisced about his experiences with Gillespie. "He was a very nice guy," says Cole. "When I was a kid, every time I'd see him and say 'Hello, Diz' he would remember me and ask how my saxophone was coming. He and Cannonball Adderley were both that way, very personable and able to relate to their audiences very well. That's the approach I aim for in my performances, because I appreciate the people being out there spending their hard-earned money to come see me."
Back in the mid-'70s, when bebop was being greatly overshadowed by fusion, Richie Cole showed that not only was bop not old-fashioned, but it could be quite fun. His Alto Madness was essentially the idea that any tune, no matter how unlikely its source, could be turned into exuberant bop. Through the years, he has successfully recorded such songs as "The I Love Lucy Theme," "Holiday for Strings," "Horray for Hollywood," "The White Cliffs of Dover," "Come Fly With Me," "The Star Trek Theme," and even "La Bamba." Influenced by Phil Woods and Charlie Parker, Richie Cole heard jazz from an early age because his father owned a jazz club in New Jersey. He started on alto when he was ten, attended Berklee for two years, and joined Buddy Rich's big band in 1969. After a stint with Lionel Hampton, Cole formed his own group, doing a great deal to popularize bebop in the 1970s. Some of his finest recordings were his early ones for Muse, during a period when he often teamed up with singer Eddie Jefferson. His humor sometimes left critics cold, but Cole was one of the top bop-oriented players of the 1980s, and his Heads Up releases of the '90s (after a few years off the scene) are excellent.
His exposure with Jay Leno’s Tonight Show band has brought tenor saxophonist Ralph Moore right into our living rooms. Moore developed his mainstream chops through the Berklee College of Music in Boston and apprenticeships with Horace Silver, J.J. Johnson and others. His velvety smooth tone makes Moore readily accessible to the average listener and opens ears for the lively improvisation he espouses.
It is almost 20 years since John Coltrane died, yet his influence on the saxophonists of today continues to be potently pervasive. He shaped the sound of an entire generation of tenor and soprano players. Ralph Moore, the young man featured on this outstanding album, would certainly not discount the impact of Trane's playing on his own style. But Moore has steered clear of the pitfall of imitation. Tonally he is softer, and his improvisations brim with his own ideas. He comes from what might be termed mid-period Coltrane, but finds stimulating, new things to say within that general area.
Moore's rise to prominence in recent years dates back to untypical roots. He was born in London, England, on Christmas Eve, 1956 and grew up in a crowded inner city area. He evinced no particular musical interest until his mother bought him a trumpet when he was 13. Ralph studied with the late Alan Briggs, a local musician, in Brixton, and was soon sitting in with pub bands. Briggs had a tenor sax and Ralph fell in love with the look of the instrument. He soon made the switch and quickly mastered the saxophone.
In 1972 he moved to California to live with his American father, and graduated from Santa Maria High School where he played in the jazz orchestra and collected several music awards. In 1975 he enrolled at Berklee College of Music, and three years later received the Lenny Johnson Memorial Award for outstanding musicianship from the college.
He was launched on a professional career with a tour of Scandinavia, and later joined Frank Quintero for recording and a tour of South America. He moved to New York City in 1981 and within two months had joined the Horace Silver Quintet for an association that lasted four years and included tours of Europe and Japan.
Subsequently, Ralph has worked with the quartet of drummer Roy Haynes, Mingus Dynasty and, most recently, trumpeter Freddie Hubbard. In the summer of 1987 he was preparing for another extensive overseas tour with Dizzy Gillespie's Reunion Big Band. On record he has already been heard with guitarist Kevin Eubanks, pianist Bill Mays, trumpeter Valery Ponomarev, Silver, Hubbard and, perhaps most significantly, with trombonist Jimmy Knepper on Dream Dancing (Criss Cross 1024). He is also featured on the forthcoming Brian Lynch Sextet album (Criss Cross 1029).
Clearly, Criss Cross producer Gerry Teakens has much faith in Moore, of whom he says: "Ralph is not only a great tenor player but also a great person! I'm planning to do more records with him. He is the man to look for." This testimonial is justified by the mercurial music within this beautifully conceived and executed album, the result of another productive day at Rudy Van Gelder's Englewood Cliffs studio, scene of unabated good cooking since Ralph was a toddler.
Ralph Moore is a potent player, bursting with new thoughts and ever seeking original ways to express them. he belongs to the genuine tradition which he is busily extending on this intensely creative album. The man from Brixton is on his way.
"Ralph Moore has matured into one of the most satisfying and individual-sounding soloists performing today. He has his own sound and is instantly recognizable. In this era of cookie-cutter sameness, he really stands out."
For years, Pete Christlieb has been heard on prime-time television shows, from Gene Roddenberry's original Star Trek to its sequel shows - Star Trek - The Next Generation, Voyager and Deep Space Nine. As part of The Tonight Show band, he performed nightly to an audience of millions. His evocative tenor saxophone sound was lauded on Natalie Cole's Unforgettable album. He began by playing in top-notch big bands and combos; his own albums have been nominated for several Grammy awards. Despite such impressive achievements, Pete Christlieb comes across as a pragmatic individual who truly enjoys music and its daily grind.
Christlieb's father Don, a bassoonist and studio musician, provided him an early introduction to music of all kinds. “I started on violin when I was about 6 or 7, then got interested in jazz and tenor saxophone at 13 and started listening to records. The first records I remember were by Chet Baker and Gerry Mulligan. Then I got more interested and bought more records, things like Zoot Sims and Stan Getz. Then came John Coltrane, Cannonball Adderley, and Miles Davis. I was especially interested in Cannonball.”
Christlieb began to visit the Lighthouse in Hermosa Beach, one of the few places featuring bands to which a minor could gain admission. “I would sit there and listen to the Lighthouse All-stars, and Bob Cooper was the saxophonist that I remembered,” Christlieb said. Shortly after, Christlieb began studying with Cooper. Soon he'd made enough progress to sit in for his mentor in the Lighthouse All-stars when Cooper had other jobs. “It was lots of fun then, playing at the Lighthouse with that group, at age 16 or 17.”
Christlieb finished high school, attended Valley College, and then went on the road with the Si Zentner band at age 18. After that, he began a series of jobs with musicians like Bobby Bryant, where he traded saxophone licks with veteran horn men Herman Riley and Hadley Caliman.
While performing with Della Reese in Las Vegas' Flamingo Hotel, his path crossed with yet another stellar bandleader, famous for his showcasing of woodwind players - Woody Herman. Christlieb heard that Herman band member Joe Farrell was leaving: soon he was asked to join. When that job ended, he returned to Los Angeles; this time he began work with former Ellington drummer and bandleader Louis Bellson. The two formed a partnership that has strengthened and flourished for over three decades. It was the work with Bellson that led to Christlieb's appointment to The Tonight Show with Johnny Carson and Doc Severinsen. “For me, the exposure and promotion that I received there was immeasurable,” Christlieb said. “As a band member on camera every night, I was always visible and being promoted. I'm sure that a lot of today's projects were made possible because of those years.
Christlieb formed his own group, and for a while, had his own record label. “I worked with Warne Marsh and my current bassist Jim Hughart. I also started producing my records under my own label - Bosco Records, which I named after a Boston Great Dane that I had at the time.” Nowadays he prefers to concentrate on performing and leave the business arrangements to others.
He also teaches summers at the Bud Shank Jazz Workshop in Washington state, works with the Bill Holman band, and continues on with Star Trek and other studio projects with partner Dennis McCarthy. And, as a prime supporter of Vulcan, Romulan and Cardassian tunes over the years, does he have any observations about the state of intergalactic woodwind? He does indeed. “I think we could use more tenor saxophone in outer space.”
Michael Lington began playing clarinet at age seven and remembers spending time as a young boy with his grandfather in Copenhagen, walking the streets and talking about the music industry.
Lington was trained classically, but switched to the sax at age 15 upon hearing American soul and jazz musicians like Cannonball Adderly, John Coltrane and David Sanborn.I wanted to improvise and the clarinet wasn't quite expressive enough for me, he says.I really connected more with R&B. So I picked up the sax and my style changed immediately.
Lington operated a recording studio in Copenhagen for a time, and also competed in several installments of the Eurovision Song Contest while touring with local Danish artists throughout Scandanavia and Germany. He took a major career plunge by moving to America, and lived through all the proverbial struggling days, all the while feeling that America would be my environment. I love the language, the culture, the people. His first touring gigs were with rock legends Little Richard and Gary U.S.Bonds, but his major breakthrough came with singer Bobby Caldwell, with whom Lington played from 1994 through 1998.
Smooth jazz fans know that Caldwell has been a proving ground for saxmen who have gone onto huge solo careers, including Dave Koz, Richard Elliot and Boney James. Lington is well on his way to following in those prodigious footsteps.
Caldwell's performance on Tell It Like It Is, from Lington's self-titled 1997 debut, propelled the single to the Top 10 of the NAC chart and Top 20 on R&R's Adult Contemporary chart. His 2000 release Vivid spawned two of smooth jazz's hottest singles of the year, Twice in a Lifetime (which hit #2 on the airplay chart) and Sunset (Por Do Sol) (which reached #4).
Helping his cause is the tremendous exposure he's received worldwide as a member of Randy Crawford's band since 1998. On most occasions, Lington opens the show with his own material before assuming the role of sideman.
His Three Keys Music debut Everything Must Change features songs produced by Peter Bunetta (a top pop producer who helmed Vivid) and several of today's top smooth jazz stars, including Brian Culbertson and Gregg Karukas. Musical guests also include performer Jeff Lorber, guitarists Tony Maiden and Paul Jackson, Jr., keyboardist Brad Cole, bassists Nathan East and Alex Al and drummer Ricky Lawson.
As the founder of Supersax, Med Flory has always been an accomplished and exciting musician.
Supersax was formed by Med Flory and Buddy Clark that played Charlie Parker's solos in unison, reached unexpectedly wide audience: made debut '72; first album Supersax Plays Bird won Grammy '73. Reedman/arr. Meredith 'Med' Flory (b 27 Aug. '26, Logansport IN) had left music after studio work in NYC, then West Coast; was acting, writing TV scripts, when he conceived Supersax with bassist Clark (who left '75).
Other LPs include: Salt Peanuts and Supersax Plays Bird With Strings on Capitol; Chasin' The Bird, Dynamite '77--8 on MPS; three LPs with the LA Voices on CBS incl. Embraceable You, Vol. 2 and Straighten Up And Fly Right '82--6. Lou Levy on piano (b 5 March '28, Chicago) was a member from end '73 to '80s; also recorded with Chubby Jackson (Bebop Revisited on Xanadu), as accompanist for Peggy Lee, Nancy Wilson, Frank Sinatra (My Way on Reprise) etc.
Many musicians who've toured with Supersax incl. reedman Jack Nimitz (b 11 Jan. '30, Washington DC), bassist Frank De La Rosa (b 26 Dec. '33, El Paso), Conte Candoli; Warne Marsh was with them in Chicago '76 when he took time off to make All Music on Nessa, with Levy, drummer Jake Hanna, bassist Fred Atwood. On CD The Joy Of Sax on Pair incl. Flory, Marsh, Candoli, Hanna.
Oh yeah - he's also a well-known actor.
Guest Starring Roles
Riptide - - Fuzzy Vision (1985)
Simon and Simon - Gavin Shelley - Dear Lovesick (1984)
Magnum, P.I. - Bud - The Elmo Ziller Story (1982)
Lou Grant - Ron Rickell - Jazz (1982)
Lou Grant - Doug Traynor - Goop (1980)
Little House on the Prairie - Pete Rawlins - A New Beginning (1980)
The Dukes of Hazzard - Shoulders - Hazzard Connection (1979)
Dallas - Cal McBride - The Lost Child (1979)
Alice - Brad - Flo's Chili Reception (1979)
Salvage 1 - Buster Wakefield - Confederate Gold (1979)
How the West Was Won - Sheriff Millet - The Slavers (1979)
Three for the Road - - The Fugitives (1975)
Starsky& Hutch - Zack Tyler - Texas Longhorn (1975)
Police Woman - Tour Driver - The Stalking of Joey Marr (1974)
Gunsmoke - Sheriff Van Berkle - A Town in Chains (1974)
Nichols - Cyrus - Peanuts And Crackerjacks (1971)
Bonanza - Clint Rush - The Grand Swing (1971)
Alias Smith and Jones - Marshal - Journey from San Juan (1971)
Gunsmoke - Corporal Steckey - Sergeant Holly (1970)
Lassie - Father - Nature's Child (1970)
Daniel Boone - Bingen - How to Become a Goddess (1970)
Mannix - Lenz - War of Nerves (1970)
Lassie - Sam - Chucka (1970)
Daniel Boone - Bingen - The Landlords (1970)
Lassie - Father Matthew - The Blessing (1969)
Daniel Boone - - Love and Equity (1969)
Daniel Boone - Bingen - Love and Equity (1969)
Daniel Boone - Jubal - The Bait (1968)
Gomer Pyle, U.S.M.C. - Monroe - The Return of Monroe (1968)
Daniel Boone - Dobbs - The Far Side of Fury (1968)
Daniel Boone - Joker - Orlando, the Prophet (1968)
Lassie - Dave - Countdown (1968)
Lassie - Dave - The Searchers (1968)
Lassie - Dave - The Lonely One (1968)
Gomer Pyle, U.S.M.C. - Monroe Efford - The Better Man (1967)
Cimarron Strip - Newton - The Roarer (1967)
F Troop - Unknown - The Loco Brothers (1966)
Lassie - Dockworker - Lassie the Voyager (2) (1966)
Lassie - Dockworker - Lassie the Voyager (1) (1966)
The F.B.I. - Forest Ranger - The Assassin (1966)
Run, Buddy, Run - Ben Pearson - Down on the Farm (1966)
Twelve O'Clock High - Captain Bright - Which Way the Wind Blows (1966)
The F.B.I. - Ranger - The Forests of the Night (1966)
Daniel Boone - Lukey - A Rope for Mingo (1965)
Destry - Bert Hartley - Go Away, Little Sheba (1964)
77 Sunset Strip - Paul Keddy - Paper Chase (1963)
Rawhide - Billie Barton - Incident of the Death Dancer (1963)
Bonanza - Otis - The Saga of Whizzer McGee (1963)
Route 66 - Terry - Shall Forfeit His Dog and Ten Shillings to the King (1963)
Bronco - Pelham - Then the Mountains (1962)
The Cheyenne Show - Pelham - Then The Mountains (Bronco) (1962)
77 Sunset Strip - Chief Brock - The Disappearance (1962)
Maverick - Wyatt Earp - Marshal Maverick (Kelly) (1962)
77 Sunset Strip - - Mr. Bailey's Honeymoon (1962)
Bonanza - Monk Hartley - The Dark Gate (1961)
Maverick - Deputy Nevers - Dodge City or Bust (Kelly) (1960)
Co Starring Roles
Mission: Impossible - Fred Stenrock, aka Toledo - Break! (1972)
Longstreet - Charlie - One in the Reality Column (1971)
The Virginian - Finney - A Bad Place to Die (1967)
The Virginian - Red Ingram - The Return of Golden Tom (1966)
The Virginian - Tom Yeager - A Gallows for Sam Horn (1964)
The Boogens (1981) - Dan Ostroff
The smoking-hot tenor sax of Mando Dorame is front and center on any Royal Crown Revue show worth attending. He is a vital part of the powerful horn section and seems to channel the sound and energy of the great Sam Butera of Louie Prima fame. If you ever get a chance to hear Mando, by all means make your way to the front of the stage for a blast of cool...