"Miles & Wayne" presented by Don Aliquo

Saxophonist Don Aliquo and his quintet delve into two of the most iconic and consequential trumpet and saxophone players in jazz history - Miles Davis and Wayne Shorter.
Miles Davis was arguably the most influential jazz musician in the post-World War II period, being at the forefront of changes in the genre for more than 40 years. Born into a middle-class family, Davis started on the trumpet at age 13. In the fall of 1944 Davis took a scholarship to attend the Juilliard School, a convenient passport to New York. It didn't take him long to immerse himself in the New York scene and he began working 52nd Street gigs alongside Charlie Parker in 1945. Soon, Davis found work with Coleman Hawkins and the big bands of Billy Eckstine and Benny Carter.
During the late 1940s, a number of musical contemporaries began to meet and jam regularly at the small apartment of arranger-pianist Gil Evans, and soon Davis formed the nonet to record his first major musical statement, Birth of the Cool. In addition to the standard piano, bass, and drums rhythm section, Davis' nonet horn section used French horn and tuba along with trombone and alto and baritone saxophones, lending the band a unique harmonic sound.
In 1955, Davis assembled his first important band with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, adding Cannonball Adderley in 1958. By this time Davis, influenced by George Russell's theories, had begun playing in modes rather than standard chord changes, which led to his most famous album (and the all-time biggest-selling jazz album), Kind of Blue, in 1959. Davis also continued an important musical partnership with Gil Evans, recording four releases in five years: Miles Ahead, Porgy and Bess, Sketches of Spain, and Quiet Nights.
In 1964, Davis assembled a new band of younger musicians, which became known as his second great quintet. This included Herbie Hancock, Tony Williams, Ron Carter, and Wayne Shorter. By this time, the Miles Davis Quintet was recording mostly originals, with all the band members contributing memorable tunes. Davis' horn playing also changed, increasing the spacing of notes to create more suspense in the music. In 1968, Davis again changed direction, leading the way for electric jazz with the release of In a Silent Way. By the 1969 release of Bitches Brew, as he deepened the electronic elements and rock rhythms of his music, the transformation was complete.
Equally renowned for his compositions as for his saxophone playing, Wayne Shorter contributed many songs to the jazz canon while participating in some of the major changes in jazz music for more than 50 years. Shorter majored in music education at New York University from 1956-58, working for a short while with Horace Silver in 1956. Shorter joined Maynard Ferguson's band followed by one of his most fruitful jobs: playing with Art Blakey's Jazz Messengers. He remained in the Messengers until 1964, establishing himself as both composer and saxophonist, and began making his own records, first for Vee Jay, then for the Blue Note label. His three releases for Blue Note in 1964, Night Dreamer, Juju, and Speak No Evil, are considered the quintessential Blue Note sound: sophisticated structures and rhythms, strong melodies, and exceptional playing.
Shorter left Blakey in 1964 to assume another productive affiliation with the Miles Davis Quintet, where he remained until 1970. While with Davis, he further solidified his position as one of the most intriguing composers of his time, contributing tunes such as "Nefertiti," "Fall," "ESP," "Paraphernalia," and "Sanctuary." He also developed his sound, a mixture of technique and emotion, able to find the appropriate mood in his playing to fit the song. During the latter stages of his Davis tenure, he took up the soprano saxophone, which thereafter often became his principal horn. In 1971 he and pianist Joe Zawinul, who also had been part of Davis' recording sessions in the late-1960s to early-1970s, formed one of the pioneering jazz fusion bands, Weather Report. The band stayed together for 15 years through several different permutations, engaging electronics and numerous ethnic influences and furthering Shorter's reputation as a composer. The band scored a major hit, "Birdland," in 1977 on their bestselling record, Heavy Weather.
Saxophonist Don Aliquo’s playing has been described as "smooth as silk...with an unfailing feel for breath and phrasing while extremely supple in the addressing of his axe but always zeroed in on what he's describing”.
"Growth" his newest release, explores new territory with intriguing compositions and ample solo space for Aliquo’s inspired improvisations. The eight originals are both complex and open, which shows him expanding his boundaries not only as an instrumentalist and improviser, but also as a composer. The music is an electrifying modern outing with one foot in the future and one in the tradition.
Aliquo has released six solo projects and has worked collaboratively or performed as a sideman on many others. His previous solo cd “Sun and Shield” features veteran jazz masters Rufus Reid, Jim McNeely, and the dynamic Obed Calvaire.
Notable collaborations include a duo recording with eclectic pianist Michael Jefry Stevens and quartet recordings with Roger Humphries and the late Beegie Adair. He also has recorded with his mentor, notable Pittsburgh tenor stalwart, Don Aliquo Sr. on the MCG label.
Don has performed in concerts and recordings with many world-class artists including Gary Burton, Greg Osby, Rufus Reid, Roger Humphries, Harold Danko, Adam Nussbaum, Donald Brown, Pete Christlieb, Scott Robinson, and Bobby Shew.
Don is Professor of Saxophone and Jazz Studies at Middle Tennessee State University. He is a Selmer and Vandoren artist.
Don Aliquo - saxophone
Pat Coil - piano
Jamey Simmons - trumpet
Jack Aylor - bass
Jordan Perlson - drums
Miles and Wayne bio content from the National Endowment for the Arts

This show is 21 and over only. All sales are final and we unfortunately cannot offer any refunds. Additional tickets may be available at the door on the day of the show even if it is sold out online.

Please try to arrive 15 minutes prior to the show start time. If you do not arrive within 45 minutes after the show start time on your ticket your seat may be resold to other patrons at the door. If you arrive after 45 minutes from the start time of the show and your ticket has been resold, although we cannot guarantee it, we will try our best to make space for you to attend the show.

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