Pink Slimy Worm

Collection Contents

#		Title	Length
1		Theme & Trajectory X	5:11	Play
2		Red-haired kid	0:22	Play
3		Fluorescent Camouflage	3:35	Play
4		Waterwheel	7:07	Play
5		The Troubadours	6:37	Play
6		Desert Moon	4:28	Play
7		The Toothless Soothsayer	4:36	Play
8		Parable of the Vineyards	5:18	Play
9		Slow Journey	4:44	Play
10		Theme & Trajectory Z	2:30	Play
11		Lost Melody	3:24	Play
12		Theme & Trajectory Y	3:52	Play
13		PSW	2:48	Play
14		Wedding Song	3:21	Play
15		For Arden	4:41	Play

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Description

'SWEET' SUE TERRY
SOLOIST/COMPOSER/EDUCATOR


Sue Terry is an alto and soprano saxophonist who began her professional career in Hartford, Connecticut, where she was a graduate of the Hartt School, and a protg of saxophonist Jackie McLean. She settled in New York in 1982, where her mentors Barry Harris, Clifford Jordan, and Junior Cook dubbed her 'Sweet Sue'.

Ms. Terry has worked with Dr. Billy Taylor, Clark Terry, Al Jarreau, Walter Bishop, Jr., Chaka Khan, George Duke, Hilton Ruiz, Irene Reid, Juan Carlos Formell, Dr. John, Jazzberry Jam, Teri Thornton, Mike Longo, and Dianne Reeves, among others. She has appeared as a jazz soloist with the National Symphony, the Brooklyn Philharmonic, and the New York Pops conducted by Skitch Henderson.

Some of her compositions are featured on her solo release Pink Slimy Worm (Qi Note Records.) Other artists whose recordings have featured her playing and writing include Terra Mars, Bobby Sanabria, Charli Persip, Clifford Jordan, Joe McMahon, Derwyn Holder, Mini All Stars, Jaki Byard, Ricardo Franck, Fred Ho, and DIVA.

Widely known as an educator, she has conducted numerous clinics, workshops and lectures throughout the U.S.; she is the author of four books: Practice Like The Pros, Step One-Clarinet, Step One-Play Alto Saxophone, and Step One--Play Tenor Saxophone, all published by Music Sales Corporation.

She is also a longtime practitioner of the ancient arts of Qigong and Taiji Quan (Ta'i Chi Chuan).

More about Ms. Terry's career can be found at www.sueterry.net, and in the books Reed All About It by Bob Bernotas, and Madame Jazz by Leslie Gourse.

Sue Terry is a Yamaha artist.


"Sue Terry on alto saxophone: one should almost say that this young lady is born for her instrument. That relaxed, exalted playing! That rhythmic feeling! That improvisational skill! Simply extraordinary!"
--Die Wahrheit Berlin, Germany

"She has a formidable musical intelligence. . ."
--Penguin Guide to Jazz on CD

"She plays like Charlie Parker reincarnated! She smokes!"
--Jazz Central Station

A few words from Sue: "Hi! Thanks for checking out my new solo recording, 'Pink Slimy Worm.' Did you know that when the saxophone was invented by Adolphe Sax in 1846 (date of patent) it was made fun of by the classical composers of the day? One of the derisive names the saxophone was called was 'pink slimy worm.' Hey, what a great title for a solo saxophone recording!

"I've been playing with groups for many years. Big bands, small groups, you name it. A few years ago I started to be drawn to the sound of solo instruments--single line instruments like horns, violin, etc. I also started playing a lot of solo pieces on my gigs, like in Beauteez N' The Beat and in my quartet gigs. I also have a solo performance piece with recited text & music called 'Keys to Consciousness.' We filmed this last piece at Marguerita on Second Ave. & 23rd St. in NYC. I was so happy with how the solo stuff sounded, except there was a lot of background noise. Buses going by, taxi horns, even people arguing outside the club. Because it was a hot summer night, the windows/front door were all open, and everything came out on the videotape. So I thought, let me go in the studio and do this right. I recorded 4 sessions at Peter Karl's. He's a great engineer. His studio is right near me in Brooklyn. So I could drive over there in a few minutes, in sweat pants and a T shirt and record, as if I were at home practicing. There ended up to be a lot of good material, much more than I thought there would be. When I had enough material, I went to the mixing master, Dean Bailin. I didn't want this record to sound like a sax concert in a church. I wanted it to sound great sandwiched between Radiohead and the Chicago Symphony on your CD changer. Although this recording has a lot of improvisation on it, I don't consider it a jazz record per se. I listen to a lot of classical music, world music, and more pop stuff like Radiohead, Matmos, Rickie Lee Jones, etc. On Pink Slimy Worm, I feel I was able to integrate a lot more of these elements than I could have playing with a traditional rhythm section. If you want to hear what the press as well as my colleagues have said about the record, go to my home page at www.sueterry.net and click on "Reviews." And don't forget to sign my guestbook!

"Now here's something else I've been contemplating. It has to do with the role that musicians have played in the past, or that they still play in tribal societies. Music is the organization of sound. Music is also magical, because although its sounds have a meaning (and I'm talking about instrumental music here), this meaning cannot be expressed by words. Music must be received into the soul and the psyche on its own ineffable terms, and in so doing, it carries tremendous power. Musicians are the receptors and the arbiters of this power, and as such they have a tremendous responsibility. When music became entertainment, rather than part of tribal rituals, it opened the door for some people to take music for granted, and often to use it for base purposes. But music has the last laugh, because it has you in its power no matter what."


More press quotes about Sweet Sue:

"Sue Terry, an alto saxophonist in the hard-edged Jackie McLean mold, is one standout."
Robert Palmer, New York Times


". . . Sue Terry was the crowd pleaser with a fiery expressiveness that got the crowd cheering and urging her on. Her style had some of the angular inventiveness of Wayne Shorter, undercut by a bluesy edge that kept things down to earth."
Michael Hotter, Greenville Press

". . . has a pure, burnished sound on each instrument . . .Technically, nothing seems beyond her reach, and her improvisations are consistently sharp and persuasive. . ."
Jack Bowers, All About Jazz

"Sue Terry's 'The Troubadours,' a polyrhythmic feast for the ears, is the most ambitious and impressive tune of the set."
David R. Adler, All Music Guide

"Terry performed in the contemporary, progressive role that the new woman in jazz is demanding."
Amsterdam News, New York

"Sue Terry possesses a truly individual voice . . . she is especially compelling."
Cadence Magazine

"Sue Terry . . . Superwoman of Jazz"
Hartford Courant

"The roaring Charli Persip Superband . . . closed the weekend with highlight after highlight, including the debut of superb alto saxophonist Sue Terry's suite on Billie Holiday tunes."
Len Dobbin, Montreal Gazette

"The most eloquent and elegant solo of the double-header, though, was played by Sue Terry. . .her chorus on a Jordan composition filled the park with a remarkably big, billowing, bitter-sweet tone poem that was the emotional high point of the night."
Owen McNally, Hartford Courant

"Sue Terry, who crafted the stunning arrangement, offers a statement on alto that reaches into one's soul."
W. Royal Stokes, JazzTimes

"I'm presenting some very talented young musicians who in my estimation are budding superstars, especially Sue."
Charli Persip in JazzTimes

". . .nor can too much be said about the youngish and loving way in which Sweet Sue Terry saluted Charlie Parker, playing with the passion that sent some of the band's reed players back to the shed when they realized they would have to work next to someone so intent on firing from the heart every chance she got."
Stanley Crouch

"Sue nailed it!"
Paquito D'Rivera

"She's been compared to the great alto players like Charlie Parker and Phil Woods. . .Sue Terry exemplifies excellence with a commanding sense of swing and a burnished tone."
National Public Radio