Artist description San Francisco Bay Area jazz septet Three Tenors No Opera features a three-tenor front line. We play original music and our own reconstructions of saxophone classics. Our CD was released this summer on SeaBreeze Jazz records with national distribution.

Music Style Modern jazz

Group Members Tony Corman: Former lead alto with Full Faith and Credit and the Contemporary Jazz Orchestra, member of Triceratops jazz sextet, appearances with Bay Area Jazz Composers Orchestra and Brazilian artists Celia Malhieros and Carlos Oliveira. Jim Norton: appearances with Bay Area Jazz Composers Orchestra, Pan Asian Arkestra, Taiko Dojo, and recently returned from a musical residency in Europe. Dave Tidball: appearances with Paula West, Jimmy Witherspoon, Triceratops, leader of original jazz groups of Minotaur, Threedom, and Slipping Into The Void. Our rhythm section is terrific, too: Jeff Massanari: guitar Matthew Clark: Piano Phil Hawkins: Drums Fred Randolph: Bass

Instruments Sax, piano, guitar, bass, drums

Albums "Deconstruction Ahead" 2002 on SeaBreeze Jazz

Press Reviews ‘“The title and credits are misleading in that they imply a humorous approach to the music, when in fact this is a serious imaginative recording. You might be surprised to see that a 6/8 Afro-Cuban treatment for “Tequila,” a mambo beat for “Pink Panther,” and waltz meter for “Four Brothers” can actually work without becoming parody. But if you didn’t know the original versions, you’d never suspect they were meant to be any different. Bob Mover’s “Night Dance,” with its helter-skelter scampering and comic quotes is quite funny but then it’s intended to be. But some of the arrangements, such as Coltrane’s “Naima” and Wayne Shorter’s “Rio,” “our gesture of respect for two of the great tenor player-composers,” are treated conventionally and with great reverence. And tenorist Dave Tidball’s three charts exemplify the hip contemporary tune, with the slow groove “Sunset Strut” being and interesting variant of the blues form Although one might expect the three tenors to line up for choruses on each track, that’s not the case at all. As if to drive home the point that the purpose of the instrumentation is essentially an ensemble one, there’s not even one tenor solo on “Pink Panther,” which, in Henry Mancini’s original form, was a feature for that instrument. But when they do play, they and their rhythm section cohorts perform with confidence and professionalism in a mainstream modern idiom.’ -- David Franklin

Additional Info http://www.threejazz.com

Location Berkeley, CA - USA

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