Sandy Eldred

The Philadelphia based University of Arts is famous for the excellence of its school of music and particularly the high caliber of its jazz education. Listening to the whimsically titled Mars Apes, it becomes clear that these accolades are not undeserved.

Billed as School Of Music Graduate Ensemble, the group performs mostly original material by its individual members, on this foray into the uncertain terrain of fusion. The engaging music does not, however, conform to the traditional sense of the style; namely amalgamation of rock and roll structure with jazzy sensibilities. Sure, there are Weather Report-esque moments, as heard on "Hope," where under versatile guitarist Dave Bozenhard's leadership, the rhythm section lays down smooth, rollicking beats. Bozenhard's intelligent solo, with its gorgeous tone and laidback tempo, builds a jam band ambience on his own "Torches." Even these compositions, however, demonstrate elements of other musical expressions. Angular hints of classical modernism pepper the former, while a lilting sonata like structure characterizes the latter.

Bozenhard's modal "Linking Logs" features woodwind virtuoso Mark Allen, whose Levantine reed weaves an improvised and hypnotic fairy tale around the dark mysticism of the theme. His acerbic saxophone flirts with freer sounds on Rihards Fedotov's expansive arrangement of saxophonist John Coltrane's "Giant Steps," especially when backed solely by the latter's asymmetric percussion.

The classically trained Fedotov not only excels at reinterpreting the Coltrane classic; he also demonstrates his writing chops on such tracks as the funky "ToBeInIt," with Allen's swaggering sax and Bozenhard's bluesy guitar over a bed of soulful R&B-inspired grooves, courtesy of genre-bending electric bassist Sandy Eldred.

Eldred's title tune finds him switching to acoustic contrabass and creating a percussive and hypnotic vibe over which Bozenhard creates cinematic harmonies and Allen introduces a warm poetic touch with hints of melancholy.

No matter how this stimulating album's music is labeled, one thing remains clear: the inherent talent of these four young men, combined with the phenomenal education they have received, has resulted in a uniquely creative work. Hopefully the quartet will record again together—and soon.

Track Listing: Haj; Mars Apes; Giant Steps; Butteroll I; Torches; Hope; ToBeInIt; Butteroll II; Linking Logs; Good Morning.

Personnel: Mark Allen: woodwinds; Dave Bozenhard: guitars; Sandy Eldred: bass; Rihards Fedotovs: drums.

Record Label: Self Produced - HRAYR ATTARIAN - All About Jazz

July 2012: Mike Cemprola Quintet
By RJ JOHNSON, Published: August 17, 2012
Mike Cemprola Quintet
Jose Pistola's
Philadelphia, PA
July 30, 2012

For his debut as a leader, alto saxophonist Mike Cemprola led a quintet comprised of some of Philadelphia's most in-demand musicians and up-and-coming sidemen for his show at Jose Pistola's on July 30.

The band's unique lineup allowed each tune to shift in several different directions, showcasing an aesthetic marked by improvisational individuality and empathetic interplay. Favoring a set of jazz standards, the group seemed determined to find new paths through old material, rather than simply trading solos.

The rhythm section featured bassist Sandy Eldred and drummer Joe Truglio, both of whom have become increasingly busy sidemen amongst the newer generation in the city's jazz scene. Though they may not have much experience playing together within a working band, their styles supported the divergent musical personalities of each soloist, instantly interpreting dynamic shifts and harmonic nudges. Cemprola's style seems to require such a rhythm section; while his vocabulary seems largely inspired by the bebop tradition, his lines often spiral in unexpected directions— sometimes inspired by a melodic suggestion or chord substitution provided by guitarist Kevin Hanson}. On trumpeter Miles Davis' "Solar," Cemprola played a lengthy introduction, ambiguously suggesting the tune's melody rather than simply stating its written theme. Rhythmically, Cemprola broke his lines up in inventive ways, which added a somewhat cyclical feel to his improvisations. His phrasing did not provide an obvious outline of the tune's form, which made each solo feel intuitive rather than academic.

Hanson's approach combined a linear style rich in the jazz tradition, with a feel somewhat akin to fusion guitarists such as John Scofield. His sound possessed slight natural overdrive, which suited the blues licks and double-time lines which Hanson wove into his solos. Though Hanson's style was not derived strictly from jazz guitarists, his harmonic underpinning anchored the band as effectively as any veteran accompanist. This was especially vital during trumpeter John Swana's improvisations, which often evolved from a linear approach into an ethereal cloud of sound.

Swana played an instrument called an EVI (Electronic Valve Instrument), which is played like a trumpet, but operates much like a synthesizer, run through effects modules and other electronic devices and projected through an amplifier. Swana has created many of his own customized patches for the EVI.: some are simpler sounds, used for stating melodies or playing within a more straight-ahead format , while others combine reverb and delay effects to create long streams of sound which seem to fade into each other. In a way, Swana's aesthetic can be compared to modern guitarists such as Kurt Rosenwinkel and Bill Frisell, both of whom often employ effects to create a chamber-like effect for their instruments. The careful combination of reverb and delay creates harmonies which are more pianistic. and melodies which sound smooth and even., rather than jagged and sharp. Swana is certainly one of Philadelphia's most unique jazz musicians, and his sound is continuing to take on new directions.

Hopefully this show will be one of many for Cemprola's quintet. If this band can work together this well on its first gig, future shows will certainly worth the wait.

Mike Cemprola Profile Also at
- All About Jazz - R. Johnson

July 2012: Mike Cemprola Quintet
By RJ JOHNSON, Published: August 17, 2012
Mike Cemprola Quintet
Jose Pistola's
Philadelphia, PA
July 30, 2012

For his debut as a leader, alto saxophonist Mike Cemprola led a quintet comprised of some of Philadelphia's most in-demand musicians and up-and-coming sidemen for his show at Jose Pistola's on July 30.

The band's unique lineup allowed each tune to shift in several different directions, showcasing an aesthetic marked by improvisational individuality and empathetic interplay. Favoring a set of jazz standards, the group seemed determined to find new paths through old material, rather than simply trading solos.

The rhythm section featured bassist Sandy Eldred and drummer Joe Truglio, both of whom have become increasingly busy sidemen amongst the newer generation in the city's jazz scene. Though they may not have much experience playing together within a working band, their styles supported the divergent musical personalities of each soloist, instantly interpreting dynamic shifts and harmonic nudges. Cemprola's style seems to require such a rhythm section; while his vocabulary seems largely inspired by the bebop tradition, his lines often spiral in unexpected directions— sometimes inspired by a melodic suggestion or chord substitution provided by guitarist Kevin Hanson}. On trumpeter Miles Davis' "Solar," Cemprola played a lengthy introduction, ambiguously suggesting the tune's melody rather than simply stating its written theme. Rhythmically, Cemprola broke his lines up in inventive ways, which added a somewhat cyclical feel to his improvisations. His phrasing did not provide an obvious outline of the tune's form, which made each solo feel intuitive rather than academic.

Hanson's approach combined a linear style rich in the jazz tradition, with a feel somewhat akin to fusion guitarists such as John Scofield. His sound possessed slight natural overdrive, which suited the blues licks and double-time lines which Hanson wove into his solos. Though Hanson's style was not derived strictly from jazz guitarists, his harmonic underpinning anchored the band as effectively as any veteran accompanist. This was especially vital during trumpeter John Swana's improvisations, which often evolved from a linear approach into an ethereal cloud of sound.

Swana played an instrument called an EVI (Electronic Valve Instrument), which is played like a trumpet, but operates much like a synthesizer, run through effects modules and other electronic devices and projected through an amplifier. Swana has created many of his own customized patches for the EVI.: some are simpler sounds, used for stating melodies or playing within a more straight-ahead format , while others combine reverb and delay effects to create long streams of sound which seem to fade into each other. In a way, Swana's aesthetic can be compared to modern guitarists such as Kurt Rosenwinkel and Bill Frisell, both of whom often employ effects to create a chamber-like effect for their instruments. The careful combination of reverb and delay creates harmonies which are more pianistic. and melodies which sound smooth and even., rather than jagged and sharp. Swana is certainly one of Philadelphia's most unique jazz musicians, and his sound is continuing to take on new directions.

Hopefully this show will be one of many for Cemprola's quintet. If this band can work together this well on its first gig, future shows will certainly worth the wait.

Mike Cemprola Profile Also at
- All About Jazz - R. Johnson

PRESS RELEASE: THE PRESS OF ATLANTIC CITY

Philadelphia, PA, April 26, 2012: A 2008 graduate of chARTerTECH High School in Somers Point, NJ, Alexander “Sandy” Eldred, known throughout the Jersey Shore and Philadelphia regions for his talent on Bass, has been named the recipient of two prestigious awards as he graduates from the University of The Arts in May. He will be awarded the School of Music “Bass Award” as well as the “Jazz Award”. He has been the recipient of The Presidential Scholarship at the University of The Arts, and was awarded the Presser Scholarship in 2011. The Presser Scholarship goes to a select few “elite” musicians. According to the award letter, “The Presser Undergraduate Scholarship is a special award reserved for those students that display artistic merit of the highest caliber. You have been selected for this scholarship by faculty members that recognize and commend your work.”
“Sandy” is a Jazz Performance major with a minor in Education at the University. He can be seen and heard throughout the Delaware Valley performing on both electric and acoustic bass in various Classic Rock groups and Jazz Ensembles.




- Neil Cirucci Public Relations

PRESS RELEASE: THE PRESS OF ATLANTIC CITY

Philadelphia, PA, April 26, 2012: A 2008 graduate of chARTerTECH High School in Somers Point, NJ, Alexander “Sandy” Eldred, known throughout the Jersey Shore and Philadelphia regions for his talent on Bass, has been named the recipient of two prestigious awards as he graduates from the University of The Arts in May. He will be awarded the School of Music “Bass Award” as well as the “Jazz Award”. He has been the recipient of The Presidential Scholarship at the University of The Arts, and was awarded the Presser Scholarship in 2011. The Presser Scholarship goes to a select few “elite” musicians. According to the award letter, “The Presser Undergraduate Scholarship is a special award reserved for those students that display artistic merit of the highest caliber. You have been selected for this scholarship by faculty members that recognize and commend your work.”
“Sandy” is a Jazz Performance major with a minor in Education at the University. He can be seen and heard throughout the Delaware Valley performing on both electric and acoustic bass in various Classic Rock groups and Jazz Ensembles.




- Neil Cirucci Public Relations

Norman David Eleventet
Little Bar
Philadelphia, PA
May 27, 2011
With the closing of Zanzibar Blue and Ortlieb's Jazzhaus, Philadelphia has lost two of its iconic jazz clubs, further diluting an already limited constellation of venues. So it's encouraging to see music coordinators Greg Matthews and Mike Boone taking up some of the slack via a jazz series they recently inaugurated at the Little Bar located at the corner of 8th and Bainbridge Streets in the South Philadelphia BellaVista section of the city, a short walk from the Italian Market, and across the street from a historical plaque memorializing the pioneering violinist Joe Venuti, a native of that area. Matthews and Boone are recruiting top notch jazz groups to play there, and they couldn't have done better than to feature Norman David's Eleventet, a grooving and swinging near-big-band that generates excitement and energy while achieving a modernism, precision, and altitude only possible with top players.

David has been leading this group for a few years, and as they find their groove and release their first CD, At This Time (Norman David/Coolcraft, 2011), they are deservedly being heard all over the Delaware Valley and beyond. They deliver a relentlessly swinging and ear-popping sound while at the same time offering nuances, subtleties, and creative ideas that generate interest for the more serious listener. David's lightly leavened "emcee" persona is deceptive, dissimulating as a somewhat shy suburban outcast, with wry humor so bad that it's good. Thus, it's a shock at first to hear how well this band delivers its grooving sophisticated sounds. David, known also as a clarinetist, plays a mean soprano sax with this band, while contributing superb arrangements of originals and standards that evoke echoes of great predecessors (for example, the Maynard Ferguson band, as well as shades of Duke Ellington, Glenn Miller, and the Gerry Mulligan Concert Jazz Band, perhaps its closest ancestral cousin), while maintaining a distinct sound of its own. That sound has the precision, timing, and expression of a small group along with the dynamic energy of a big band.

In this first of two sets at the Little Bar, the group began on top of the beat, with a hot, grooving David original, "Nor-Bop," with ensemble and section choruses punctuated by the flavorful soloing of Mike Cemprola on alto sax and Jon Barnes on trumpet. It was followed by another David composition, "Folding My Shirt," featuring Sandy Eldred on bass and Tom Lawton on piano. Half-way through this number, the group made a beautiful switchover from a hard bop to a cool mode, featuring a stunning solo by "Peppery" (a nod to Pepper Adams) baritone saxophonist Mark Allen, who truly outdoes himself on his instrument, with brilliant inflections and twists to his playing.

"Smoke Gets in Your Eyes" was given a swing era lilt, with a tom-tom jungle interlude typical of those familiar World War II era records. David's own "Prestological" combined, as the name suggests, rhythmic pulsations with reasoned, calculated depth soundings. Randy Kapralick's trombone solo was reminiscent stylistically of the great Curtis Fuller. Tom Lawton interjected striking Liszt-like piano cluster interjections, while Mike Cemprola's alto solo took on a West Coast Art Pepper feel. Dan Monaghan nailed the tune with some presto-digitative spellbinding drum work that contrasted with his trademark gentle approach.

"Buzz (Talk)" offered film noir undertones in which Sandy Eldred delivered an in-the- zone bass solo, leading up to astonishing soprano sax work by bandleader David, a solo that could have served as homage to John Coltrane, emphasizing interval jumps, and ending with a super-rapid run of the sort that typified Coltrane at his apogee. The set ended with "Quick, Change!" featuring one of Lawton's all-over-the- piano-free-association solos, then overshadowed by Carl Schultz' incredible tenor renderings that seemed to catalogue the history of the tenor sax, invoking shades of Lester Youngand Dexter Gordon, with an echo of the Ellington sax section thrown in for good measure.

Overall, this was a five-star show by a tight, grooving ensemble in a very comfortable new venue where the audience listens respectfully but cheers enthusiastically, where food and drinks are available but not the focus, and where, by design, sound and acoustics have been well-attended to. Hopefully, this all bodes well for the future of live jazz in Philadelphia.


Personnel: Norman David, leader, arranger, and soprano saxophone; Mike Cemprola, alto saxophone; Carl Schultz, tenor saxophone; Mark Allen, baritone saxophone; Jon Barnes, trumpet (soloist); Dennis Wasko, trumpet; Randy Kapralick, trombone (soloist); Jarred Antonacci, bass trombone; Tom Lawton, piano; Sandy Eldred, bass; Dan Monaghan, drums.

Photo Credit: Vic Schermer
- All About Jazz

Norman David Eleventet
Little Bar
Philadelphia, PA
May 27, 2011
With the closing of Zanzibar Blue and Ortlieb's Jazzhaus, Philadelphia has lost two of its iconic jazz clubs, further diluting an already limited constellation of venues. So it's encouraging to see music coordinators Greg Matthews and Mike Boone taking up some of the slack via a jazz series they recently inaugurated at the Little Bar located at the corner of 8th and Bainbridge Streets in the South Philadelphia BellaVista section of the city, a short walk from the Italian Market, and across the street from a historical plaque memorializing the pioneering violinist Joe Venuti, a native of that area. Matthews and Boone are recruiting top notch jazz groups to play there, and they couldn't have done better than to feature Norman David's Eleventet, a grooving and swinging near-big-band that generates excitement and energy while achieving a modernism, precision, and altitude only possible with top players.

David has been leading this group for a few years, and as they find their groove and release their first CD, At This Time (Norman David/Coolcraft, 2011), they are deservedly being heard all over the Delaware Valley and beyond. They deliver a relentlessly swinging and ear-popping sound while at the same time offering nuances, subtleties, and creative ideas that generate interest for the more serious listener. David's lightly leavened "emcee" persona is deceptive, dissimulating as a somewhat shy suburban outcast, with wry humor so bad that it's good. Thus, it's a shock at first to hear how well this band delivers its grooving sophisticated sounds. David, known also as a clarinetist, plays a mean soprano sax with this band, while contributing superb arrangements of originals and standards that evoke echoes of great predecessors (for example, the Maynard Ferguson band, as well as shades of Duke Ellington, Glenn Miller, and the Gerry Mulligan Concert Jazz Band, perhaps its closest ancestral cousin), while maintaining a distinct sound of its own. That sound has the precision, timing, and expression of a small group along with the dynamic energy of a big band.

In this first of two sets at the Little Bar, the group began on top of the beat, with a hot, grooving David original, "Nor-Bop," with ensemble and section choruses punctuated by the flavorful soloing of Mike Cemprola on alto sax and Jon Barnes on trumpet. It was followed by another David composition, "Folding My Shirt," featuring Sandy Eldred on bass and Tom Lawton on piano. Half-way through this number, the group made a beautiful switchover from a hard bop to a cool mode, featuring a stunning solo by "Peppery" (a nod to Pepper Adams) baritone saxophonist Mark Allen, who truly outdoes himself on his instrument, with brilliant inflections and twists to his playing.

"Smoke Gets in Your Eyes" was given a swing era lilt, with a tom-tom jungle interlude typical of those familiar World War II era records. David's own "Prestological" combined, as the name suggests, rhythmic pulsations with reasoned, calculated depth soundings. Randy Kapralick's trombone solo was reminiscent stylistically of the great Curtis Fuller. Tom Lawton interjected striking Liszt-like piano cluster interjections, while Mike Cemprola's alto solo took on a West Coast Art Pepper feel. Dan Monaghan nailed the tune with some presto-digitative spellbinding drum work that contrasted with his trademark gentle approach.

"Buzz (Talk)" offered film noir undertones in which Sandy Eldred delivered an in-the- zone bass solo, leading up to astonishing soprano sax work by bandleader David, a solo that could have served as homage to John Coltrane, emphasizing interval jumps, and ending with a super-rapid run of the sort that typified Coltrane at his apogee. The set ended with "Quick, Change!" featuring one of Lawton's all-over-the- piano-free-association solos, then overshadowed by Carl Schultz' incredible tenor renderings that seemed to catalogue the history of the tenor sax, invoking shades of Lester Youngand Dexter Gordon, with an echo of the Ellington sax section thrown in for good measure.

Overall, this was a five-star show by a tight, grooving ensemble in a very comfortable new venue where the audience listens respectfully but cheers enthusiastically, where food and drinks are available but not the focus, and where, by design, sound and acoustics have been well-attended to. Hopefully, this all bodes well for the future of live jazz in Philadelphia.


Personnel: Norman David, leader, arranger, and soprano saxophone; Mike Cemprola, alto saxophone; Carl Schultz, tenor saxophone; Mark Allen, baritone saxophone; Jon Barnes, trumpet (soloist); Dennis Wasko, trumpet; Randy Kapralick, trombone (soloist); Jarred Antonacci, bass trombone; Tom Lawton, piano; Sandy Eldred, bass; Dan Monaghan, drums.

Photo Credit: Vic Schermer
- All About Jazz

One of the most popular bands in New Jersey, Apocket Bleu will be featured Wednesday July 4th playing at the Barnegat, NJ Independence Day celebration. The band will be in front of Moody Joody's restaurant directly across from the municipal park where most of the festivities will take place. Moody Joody's is a landmark location in Barnegat and has launched many great bands.
Moody Joody's Restaurant is located on Rte 9 and East Bay Avenue in the heart of the towns Historic District next to the "Gazebo". Family owned and operated Moody Joody's offers great food with an attitude and as Megean the owner points out, the food has the attitude, not the staff.
Equally comfortable on stage playing best loved classic rock and modern Rock covers or originals, Apocket Bleu will rock the house with their sophisticated style that belies their age and look.
Comprised of four talented young men ages 16-18, their individual playing experience as musicians coupled with that rare, magical chemistry makes Apocket Bleu a band that will not only please the crowd at Moody Joody's on July 4th at 6pm but continue to establish themselves as a force to be reckoned with in the world of unsigned bands. In addition to Sandy Eldred on bass Apocket Bleu features Kevin Kern on drums, Ryan Schugar on guitar and Paul Lopresti on keyboards. For more information please visit their site at www.apocketbleu.com or contact Neil Cirucci at 609-513-1689
- PR Web

Saxophonist Michael Pedicin and bassist Tim Lekan are organizing an All-Star Jazz Jam "Down the Shore" on May 2nd from 4-8 p.m.. to kick off the summer. These guys have gotten together some of the best musicians on the Jersey coast. WRTI deejay Bob Perkins will host this incredible event at the Sandi Pointe Coast Bistro in Somers Point. Be there or be square! Tickets are on sale now!

Visit www.sandyeldred.com to view ad.

- Jazz Bridge