My career reflects the flexibility of styles of which the saxophone is capable. I enjoy working with composers to develop new works for saxophone and explore the expressiveness of the instrument in the concert hall. I also get to travel the world playing baritone saxophone in an acclaimed soul band – The Dip! I enjoy playing in every style and have been privileged to gain a wealth of experience traveling to play my own classical recitals, working as a pop and jazz musician on cruise ships, and getting to collaborate with musicians from around the globe. As an educator, I get to work with numerous dedicated students from my Seattle home and am co-founder the Seattle Saxophone Institute.
I value music education as a means of both community forming and personal growth. By tapping into a long lineage of musical study and expression, a student can find themselves as part of a worldwide group of musicians for which modern technology breaks down traditional boundaries. Individually, the continued study and advancement of a craft brings benefits that don’t end in the practice room. As a performer and educator, I view my contributions to music education as the most impactful way I can enact a positive change on the world.
Music Education History
Bachelor of Music Education – University of Northern Iowa
Master of Music – James Madison University
Doctor of Musical Arts – University of Washington
I lead an active studio of around 25 saxophonists in Seattle, and frequently appear at area schools as a clinician. I am the co-founder and director of the Seattle Saxophone Institute – a two-week intensive study program reaching forty students that features saxophone study across all different genres. I previously spent three summers working with an elite touring high school jazz band with the Celebration Iowa music program based out of Luther College in Decorah, Iowa. I’ve also had the opportunity to teach internationally and studied music while completing my student teaching requirements at the Colegio Internacional de Caracas in Venezuela in 2008.
October 2019: The Dip – European Tour: I had the opportunity to perform in seven different counties while traveling by plane, train, and van! It was a special experience to share our music with audiences of so many different cultures and languages. Each day was a new adventure as we crisscrossed the continent!
July 2019: Two Nights at the Blue Note Tokyo: My band traveled to Tokyo for a whirlwind trip of four shows in two nights at the historic Blue Note jazz club. We got to explore the city together and experience unbelievable hospitality from our hosts. We met fans from all over Japan and even some that flew in from South Korea to be in attendance. It was incredible to see the reach and power of music and how its impact can truly cross cultural lines.
June 2015: Final DMA Solo Recital: I prepared a varied and challenging array of music to serve as a final showcase for my performance degree. I was able to work with local composers to create new music to perform alongside some emerging stalwarts of the saxophone repertoire. The opportunity to collaborate with local performers whom I respect greatly made this a truly special evening for me.
April 2013: Urban Requiem in China: On a performance tour with the University of Washington Wind Ensemble, I performed this concerto grosso for saxophone quartet to an appreciative audience at the China Conservatory. I am a longtime fan of Colgrass’ compositions and writings; so, the opportunity to take his work abroad to a bustling, urban city was an inspiring event for me.
June 2012: New Works at the World Saxophone Congress: I traveled to St. Andrews, Scotland and performed two new saxophone works I commissioned. Performing works on which I had the opportunity to collaborate with the composers is always meaningful to me. For this concert, I was able to perform them in front of past mentors, which made it a truly special event for me.
May 2011 – Two Concertos at James Madison University: I had the opportunity to perform two separate solo concertos with two different ensembles over the course of a few weeks. This challenged my preparation and flexibility to be able to give command performances of two very different works in disparate contexts within such a short time span.