This work, written by Australian composer Andrian Pertout, received honorable mention in the American University Symposium International Composition Contest, which I hosted in 2003. Since that time, I have commissioned Andrian to write several more works for saxophone.

This piece written for me by Fernando Benadon derives its title from the consistent tempo throughout the piece. However, the pulse is described by Fernando as more of a gravitational force, since it is often concealed by the performer’s intricately woven rhythms.

Written by internationally renowned oboist Ronald Roseman, this movement from his Partita is based on Ravel’s Le Tombeau de Couperin. Roseman and I worked together to adapt this piece for solo soprano saxophone from the original written for oboe.

This electro-acoustic work was written for me by composer and jazz pianist Nathan Lincoln-DeCusatis. The accompanying backing track was created by electronically manipulating my recorded sound, which Nathan used to suggest contemporary classical, jazz, and Middle Eastern musical styles.

I discovered this piece after meeting David Amram at my performance of his Ode to Lord Buckley with the Loudoun Symphony Orchestra. The first movement, Prologue, suggests a French musical style, and Scherzo is an homage to jazz, a musical style that helped to make Amram famous through collaborations with Bernstein, Gillespie, Monk, and Mingus.

Matthew Van Brink’s Sonata for Alto Saxophone and Piano is a wonderful four-movement work for saxophone. I was the first saxophonist to record this piece after performing it throughout the United States and abroad.

I participated in the commissioning consortium for Amy Williams to write Duo. Amy asked me to record this work for her album Cineshape and Duos, which also included members of the JACK Quartet.

This piece was recorded by my harp and saxophone duo Pictures on Silence for our debut album Voyage. Megan Ihnen writes “this recording feels like you have just happened upon a room where [they] have already been playing. For how long? Unknown. But, you happily find an open chair and settle in for the rest of the seven works on the recording.”

Written by Andrew Earle Simpson, this work for saxophone and harp depicts the sounds and atmosphere of a summer night.

This electro-acoustic work for saxophone, piano, harp, and percussion was premiered with members of ICE at the National Gallery of Art. Commissioned through a grant from Chamber Music America, this piece was also performed at NYU and Rutgers.

Henry Brant’s Concerto for Alto Saxophone and Orchestra was one of the first to use extended techniques, including a four-octave range. After playing for the composer, I was the first saxophonist in nearly fifty years to be allowed to perform this work. I helped to edit and wrote the foreword to this reduction, which is published by Carl Fischer.

This excerpt of Bill Evans’ famous song was recorded by my saxophone and guitar duo with Javier Farias. Javier was recently named one of Chile’s most notable composers by one of Chile’s leading newspapers, La Tercera.