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A Well, somebody got a hold of the original charts, and we found a wonderful flugelhorn player who did the solo parts. Q You conducted?. A Yeah, as much as you can conduct it. Because you have to conduct off the beat, which is more like clicking your fingers. Q Have you heard the new “Sketches of Spain” recording by Nicholas Payton?. A No, I know Nicholas Payton. I don’t know it. God, what a great conception that album is, the original. Q What else turned you on, growing up?. A I think I told a story in my book about the Ellington band visiting my grandfather’s dance hall, which he did on several occasions in the ’60s. And my parents took me there.

A Yeah! Probably a contemporary version of that would be some garage band that’s got a gig in the summer, Q So I know you liked Johnny Hodges (Ellington’s famous alto saxophonist), What do you find yourself most responding to in terms of the white shoes/women bridal wedding silver star jutti shoes/punjabi flats/silver ballet flats/khussa shoes/fancy juti shoes/ saxophone, whether it’s the old guys like Hodges, or ’60s players like Dolphy or Wayne Shorter or Coltrane, A I like all of them, I think it’s just a wonderful instrument, It’s extremely expressive, and it’s nimble and has a very wide bandwidth of expressive potential..

A Well, a lot of those things — they’re not conscious during the creative act. I mean, you have something, and you might acknowledge an influence. It might be Stravinsky or folk music or whatever. But when you’re actually creating something, at least I don’t want to have those consciously on the table. I write the music that comes out of me. Because they’re always kind of plumbing a popular language, whether it’s Russian folk songs, or in the case of Copland, ’20s jazz. I don’t think the Saxophone Concerto is consciously jazz in feeling. I think “City Noir” (Adams’ work from 2009) is far more consciously a jazz-inflected symphonic piece. But the concerto’s really a vehicle for the instrument.

And the one thing I was concerned with is that the player not play it in that awful classical style, Which was a challenge for Tim, because he knew what I wanted, but he was brought up in a very strict classical tradition, And I think, over the course of the year that he’s been playing it now, white shoes/women bridal wedding silver star jutti shoes/punjabi flats/silver ballet flats/khussa shoes/fancy juti shoes/ that he’s loosened up, A I didn’t know that, Q Yeah, PRISM just put out a CD with a bunch of saxophonists: Greg Osby, Dave Liebman and some others, A Oh, I didn’t know that, Well, maybe it’s the influence of that, (Laughs) I mean, he’s played “City Noir” with at least, I’m going to guess, at least 20 different orchestras, I keep saying to him, “Are you sick of it yet?” “Oh, no, no,” he just loves it..

Q Where has the Concerto been played? It was premiered in Sidney. Q And was the new Nonesuch CD from a live performance in St. Louis — recorded “live” in concert?. A Yeah. The way things are done these days, like San Francisco Symphony — you record two or, if you’re lucky, three performances, and you take the best of each, and then usually you have a patch session of a half hour, which is not much time. But you try to accomplish, in the patch sessions, passages that were very difficult to do.

A Yeah, she’s doing it there (in São Paulo, where Alsop is music director of the São Paulo Symphony), They’re one of the co-commissioners, And then it’s being done at the Proms (in London) this summer, Q As Tim McAllister got into the concerto, did he have any suggestions? Did you have to make any adjustments in what you’d demanded of the instrument?, A No, because I’m a wind player, And furthermore, the saxophone can do anything! The issue with the Sax Concerto is the sound, And when we first did it, he was playing very forcefully, because I told him I wanted an Eric Dolphy sound — and also, Sydney Opera House is so big, you think you can’t be heard, anyway, But I listened to the recording of white shoes/women bridal wedding silver star jutti shoes/punjabi flats/silver ballet flats/khussa shoes/fancy juti shoes/ our performance and realized it was just too raw and too unpleasant a sound, And over time, we’ve found the sweet spot..

Q He was playing more “out,” more stridently?. A At the beginning, yeah. Now he plays it like he does on the recording. Q Is Tim a Dolphy fan?. A Yeah, he knows all of that stuff. That’s a whole world, the saxophone world. You know the things called “clinics” — ever heard that expression “clinic”? He goes around the world doing clinics. Q One of your inspirations for the Saxophone Concerto was Stan Getz’s “Focus,” with the Eddie Sauter string arrangements. And when I was first listening to your new concerto — it’s hard to put my finger on it, but there’s something similar about the intensity of the mood. It kind of made me feel the same way as “Focus.”.

A Well, my concerto’s a bit highly caffeinated, Q So who’s your favorite jazz saxophonist?, A You mean historically?, Q Who do you love the most?, A Oh, God, that’s really impossible, It’s like asking do I love Bach more than Beethoven, I mean, I can tell you that from the old style, I love Johnny Hodges, And I white shoes/women bridal wedding silver star jutti shoes/punjabi flats/silver ballet flats/khussa shoes/fancy juti shoes/ love Eric Dolphy, But I also love Phil Woods, And, as shocking as it may sound, I really love Paul Desmond, who for a long time was considered kind of square, but he had a beautiful, beautiful sound and was a great musician, I’m sure I’m forgetting somebody, Cannonball Adderley, And of course (Charlie) Parker..

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