The Robert Stewart Experience
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The Robert Stewart Experience


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"Marching to the Beats of Different Drummers"

Up at Dizzy's Club Coca-Cola, the talented and ambitious drummer and composer Herlin Riley, in a rare gig as leader of his own band, is offering an entirely different take on the drummer-driven band. During Tuesday night's opening set, Mr. Riley offered hard-driving, engagingly rhythmic, upbeat music in the tradition of the legendary bands of Art Blakey and Max Roach. Mr. Riley's quartet features the multi reed player Victor Goines, pianist Eric Reed, and bassist Reginald Veal (all fellow veterans of the Lincoln Center Jazz Orchestra).

On Tuesday night, Mr. Riley followed suit with "Royal Garden Blues," a song associated with the Creole Jazz Band of King Oliver and Louis Armstrong. Mr. Goines took the melody on soprano while Mr. Riley supplied a funky back beat, but the big surprise was a guest appearance by Robert Stewart, a tenor saxophonist who played with the LCJO about 10 years ago.

Mr. Stewart plays with a big, breathy, raspy sound, and he brought more energy than technique to this tune. His playing was aggressive, stomping, and swinging, but Mr. Goines, still playing soprano, wasn't about to go down without a fight. As the two saxophones traded fours, they produced some of the gutsiest playing I've ever heard at Lincoln Center.

- The New York Sun

"Wynton Marsalis & Robert Stewart"

First Festival of Popular and Nomad Music Agadir, Morocco

by Harald Justin (July 2003)

About 11pm the Robert Stewart Trio steps on stage. The friend of Wynton Marsalis plays John-Coltrane-style, free, wild, like a preacher, blowing fire. There’s no noodling, playing his horn, he has something to say.

And everybody who knows the berber Jajouka-Music, everybody who knows that Ornette Coleman was heavily attracted by their music, can understand, why Stewart's music is in the right place here in Agadir.

He gets as many applause as Chico Freeman two days before, who had to give two encores. When Stewart has finished, it is surprisingly quiet.

Wynton Marsalis brings jazz into here and now at Fox Theatre

Saturday, November 01, 2003
By Jim Harrington (Oakland Tribune)

Marsalis called upon old pal Robert Stewart to help out with the final two numbers of the second set. The Oakland-based tenor saxophonist added an important stepping stone between Anderson and Marsalis on the cover of Miles Davis' "All Blues."

- Oakland Tribune

"San Francisco Salutes Sonny Rollins"

By Forrest Bryant

Joe Lovano, David Sanchez, Lew Tabackin, and Robert Stewart made up the front line, with the Benny Green trio comprising a fabulous rhythm section.

Opening, appropriately enough, with "Tenor Madness," the full ensemble took a run together before breaking up into smaller groups for the rest of the evening. The tune was fine, taken at a crisp, high tempo, but it paled in comparison to Rollins' performance and gave little indication of the wonders to come. Only Sanchez stood out with a dense, angular solo near the end that got the crowd involved.

As the band regrouped into a series of quartets and quintets, the musicians' personalities began to mix and mingle in intriguing ways. For "Airegin," Lovano and Tabackin co-led a quintet that recalled the Prestige Records sound of the 1950's. Lovano was his usual complex self, playing a hot, squirrelly solo that integrated a range of classic playing styles. Tabackin, square-jawed and intense, squeezed fire from his horn as he writhed and stomped. Benny Green also made it known that he was a major factor, unleashing a torrential run spiked with huge block chords.

Tabackin and Stewart's take on "Doxy," a cool slide with plenty of bluesy feeling, simply kicked ass. Tabackin found a great blend of modern and soul-jazz here, at one moment sounding complicated, the next lowdown. Bassist Robert Hurst discarded the soul overtones but somehow never lost the vibe in his impressively cerebral turn.

Sanchez replaced Tabackin to close the first set. In "Pent-Up House," Sanchez, who of the tenors seemed to be the popular favorite, started off abstract, then kicked into pure bebop overdrive. Later, he would come across as a kind of musical boxer, bobbing and weaving as he sparred with the drums. But the most interesting solos belonged to Stewart and Benny Green. Stewart, representing the Oakland scene, was outstanding. His gutsy playing updated the honking, bar-walking style of classic r&b sax blowing for a post-Coltrane era. Stewart's wildness dovetailed perfectly with Green, who pulled off a tricky solo played by both hands in unison.

Lovano started off the second set alone, in an honest and heartfelt rendition of Thelonious Monk's "Pannonica." Stewart, Hurst, and drummer Rodney Green joined him for a tight "East Broadway Rundown," which saw the horns weave around each other in a squeaky duet that fell into a clattery rumble. Drummer Rodney Green had a chance to show off with a rhythmic solo that Lovano accented with the disconnected mouthpiece of his tenor.

The night's big showstopper was "The Cutting Edge," which Stewart performed with the trio. This is not one of Rollins' better known compositions—Stewart had to explain the piece to his comrades before starting. But the trio came through with a great rolling postbop groove. Stewart then put down a raw, almost spiritual lead that invoked Pharoah Sanders and Eddie Harris equally. The trio laid out for a while and let Stewart go to town on his own, digging deep for a stretch that had the audience on the edge of its seats. Benny Green got the next solo, going way down inside the chords then slowly bubbling up like a threatening volcano, finally bursting into a triumphant crescendo.

The schedule made it look unfair; how could anybody possibly follow Rollins in a tribute show and not seem somehow lacking? The answer was on the stage. Rather than being a letdown, these tenor titans were perfect counterparts to the man of honor.

When Forrest Bryant isn't writing about jazz or trying to get Thelonious Monk elevated to sainthood, he can be heard on the Bay Area airwaves as the host of a weekly radio show called "No Cover, No Minimum" (on ““, 90.1 FM).


"Robert Stewart at UCLA"

An "Invitation" To Keep Listening

By Paula Edelstein

In a moving tribute to the late drummer, and UCLA educator, Billy Higgins, tenor saxophonist Robert Stewart proved that both his compositional integrity and his technical command of the saxophone have surpassed those skills previously presented on his 1996 recording titled JUDGMENT. His articulate improvisations, circular breathing and instinctive gift for varying the registers of his instrument were welcomed by several rounds of applause and approving shouts from the audience. Accompanied by pianist Art Sano, drummer Mark San Felipo, and bassist Miguel Sanwano, Stewart played an exciting set of jazz standards written by Duke Ellington and “his favorite saxophonist,” Eddie Harris as well as several of his original songs. Notable solos from “Judgment” “Get Out” “Freedom Jazz Dance” and “Invitation” brought favorable, excited responses from the audience. Robert Stewart has a deep repertoire and his style of jazz should continue to garner a loyal following.
- Los Angeles Times

"The Music Of Stanley Turrentine"

By Marcia Hillman

The Music of Stanley Turrentine
Eric Alexander, Robert Stewart, Gene Ludwig, Dave Stryker and Grady Tate
Allen Room, Jazz at Lincoln Center
New York, NY February 16, 2006

Jazz at Lincoln Center presented a performance of the music of Stanley Turrentine as part of their Music of the Masters series. The evening’s performance featured Eric Alexander on tenor sax, Robert Stewart on tenor sax, Gene Ludwig on the Hammond B3 organ, Dave Stryker on guitar and Grady Tate on drums. The evening’s music consisted of original material by the legendary Stanley Turrentine and standards.

Starting off with “The Way You Look Tonight”, where both saxes took turns with the melody, everyone settled in swinging. After that both saxes took turns on stage. The next tune, “Mattie T” (a Turrentine original) was a blues affair which featured Robert Stewart along with guitar and organ solos. Antonio Carlos Jobim’s “Quiet Nights” followed with Eric Alexander taking the sax duties for a lovely rendition.

Stewart’s version of “In A Sentimental Mood” was delivered sensitively in a conversational manner. Ludwig on the Hammond and Tate on drums did some interesting interplaying on this one. Turrentine’s original tune “Sugar” ended the first half of the concert and featured both saxes. Dave Stryker took a smooth solo followed by Ludwig’s strong solo.

The second half began with “Don’t Mess With Mr. T.” (written by Marvin Gaye) and displaying the talents of Alexander and Stryker. Stewart was featured on the next Turrentine original, “Storm”. This contained a rhythmic pattern on the drums where Tate sounded like he was tap dancing. Then came a change of pace; Dave Stryker on guitar accompanied by Grady Tate on drums. Stryker played “Pieces of Dreams” to dreamy perfection. Then Grady Tate, accompanied by Stryker, stepped up to the mike to sing “It Might As Well Be Spring”. Tate’s vocal ability is on a par with his incomparable drumming and he displayed all of the range, nuances and sensitivity of his voice in this night’s performance. Alexander was up next with another Turrentine original, “Minor Chant” and contributed a driving, powerful solo. Ludwig built his solo until it blistered and Tate took a wonderful drum solo and traded solos individually with guitar, organ and sax. The final offering was “La Place” (written by Turrentine). It is the name of a street in Turrentine’s hometown of Pittsburgh and the song with which Turrentine closed his performances. A bluesy affair, it afforded all the musicians a chance to give the audience a swinging closer.

The performers were able to capture Turrentine’s spirit and sound. Eric Alexander and Robert Stewart each have different styles on the tenor. Alexander has a smooth, fluid approach and Stewart uses his sax to “talk” the song.

Together, they were able to present the entire scope of the instrument. Dave Stryker’s guitar was smooth and Gene Ludwig’s Hammond B3 provided the driving bottom. Grady Tate provided the solid beat along with his slick figures and punctuations. There was much smiling and toe-tapping through this evening of “feel good” music... from both the audience and the musicians.


"THE MOVEMENT - Dr. Robert Stewart"


Exodus Records

By Edward Kane

Robert Stewart is a young tenor saxophone player from Oakland with a full, robust sound on his instrument. The Movement is a live recording from the summer of 2000 that also features a who's who of Los Angeles-based jazz musicians--drummers Billy Higgins & Larnace Marable, Pianists Art Hillary & Nate Morgan, bassists Al McKibbon & Dr. Art Davis plus trumpeter Richard Grant. You may not be familiar with some of those names, but surely you've heard of some of the people they've played with over the years: Thelonious Monk (Higgins), Charlie Parker (Marable), John Coltrane (Davis & Higgins)...a pretty good list for starters.

The CD was recorded over two days at a venue called the World Stage in the Leimert Park section of Los Angeles. Leimert Park is a nice neighborhood in south central Los Angeles featuring several institutions dedicated to black heritage and the arts. One of these is the World Stage, a performance and educational space started by the late Mr. Higgins and poet Kamau Daaood in 1989. Concerts are held on Fridays and Saturdays, bookended by jam sessions on Thursdays and Sundays, the latter date being the "Sisters of Jazz" program hosted by Rose Gales. Different workshops are held during the remaining weeknights, focusing on drumming, singing and writing respectively.

The music on this set comes from Stewart's concerts on July 28th & 29th, 2000. Stewart and Grant played both nights, but the rest of the band changed each night. The CD selections from both nights. The opening "Judgemnet" actually comes from the second night and features playing from Marable, Mckibbon & Hillary. Hillary is a really underrated pianist and his tasteful playing is a highlight of this track, as is Marable's insistent drumming. "Get Out" comes from the first night, and is a swinging blues featuring a tasty solo from Grant and some nice stride piano from Morgan buoyed by some really hip walking bass courtesy of Dr. Davis. Higgins plays with his usual wit and verve, despite the fact that this was recorded around the time that his health began to fail; this CD, in fact, bills itself as Higgins' last session. (based on an interview I read, I believe the saxophonist Charles Lloyd may at least have some private recordings with Billy that were made after this and may or may not see the light of day, but we'll take the liner notes at their word)

Stewart's playing is solid on all five tracks. The Coltrane influence is evident on the more modal numbers like "Judgement", 'Trane's "Impressions", and Wayne Shorter's modal bop "Caravan." But Stewart meets other challenges, playing some throaty blues on "Get Out," a la Pharaoh Sanders and Gene Ammons, and he handles the ballad "Days of Wine and Roses" with some gruff but lyrical tenor recalling Coleman Hawkins. I like Stewart's quotes of "My Favorite Things" and Shorter's "Sunflower" to close "Impressions" and, while I'm at it, Grant's solo on "Caravan" is also noteworthy.


"The Force - Robert Stewart"

Sax player Robert Stewart's music is all about the individual psyche and the history of jazz

By Andrew Gilbert

Old Soul: Robert Stewart tells young musicians that “they need to find out who they are within themselves before they even try to imitate jazz legends like Coltrane.”

With his baby face and Reggie Miller physique, 28-year-old Robert Stewart doesn't look like an old soul. But when he puts his tenor sax to his lips, his fat, warm sound tells world-weary tales of jam sessions and juke joints. With at least three weekly gigs in different San Francisco clubs, Stewart is one of the busiest young jazz musicians in the Bay Area. Whether playing R&B in Oakland, his hometown, or laying down an irresistible groove with his organ trio at Bruno's, Stewart infuses his music with the kind of blues-drenched feeling that once turned Gene Ammons, Sonny Stitt and Stanley Turrentine into jukebox heroes.

Stewart's first album, Judgement, came out on the independent L.A.-based World Stage label in 1993. In the Gutta, a raucous organ combo session on Qwest, put him on the blues map in 1996. With the release last month of his second album for Qwest/Warner Bros., The Force, Stewart's reputation is spreading well beyond California. A spiritually charged session at times reminiscent of mid-'60s John Coltrane, the album features local legend Ed Kelly on piano and, from the Branford Marsalis rhythm section, bassist Reginald Veal and drummer extraordinaire Jeff "Tain" Watts.

After spending much of 1997 on the road with Wynton Marsalis, performing his epic (and Pulitzer Prize-winning) work on slavery, Blood on the Fields, Stewart returned to the Bay Area and resumed his local gigs, awaiting the release of his new album. I met Stewart one recent afternoon at First Stop, a Jack London Square nightspot where he frequently participates in the Sunday night jam sessions. Sipping a glass of orange juice as Joe Turner wailed Kansas City blues in the background, Stewart looked relaxed as he discussed his musical philosophy and his emergence as a force on the Bay Area jazz scene.

Metropolitan: Your last album, In the Gutta, was a down and dirty blues session. With its calm spiritual vibe, The Force almost feels like it was made by a different person.

Stewart: That's great. I wanted to do The Force because Islam is my background. I grew up in that kind of household, and I also had Christianity on my father's side. I did Judgement first--a little Latin, a little blues, a little of everything. In the Gutta was the first album I wanted to do for a major label, and Qwest popped up at the right time. The blues is how I started, around here at Eli's Mile High Club. That's kind of my foundation.

Metropolitan: Do you get a chance to express your full musical personality working around the Bay Area?

Stewart: I do really different types of gigs. At Pier 23 on Tuesdays, we go avant garde, and I can go out as far as I want. Wednesday nights I'm with Lavay Smith and the Red Hot Skillet Lickers at Top of the Mark, and that's the swing thing--Duke Ellington, Count Basie, Bessie Smith stuff. On Saturdays I've got the organ trio with Ed Kelly at Bruno's, so I get to do the funky Jimmy Smith/Stanley Turrentine kind of thing. I go through the whole history of the music in one week.

Metropolitan: The Bay Area's been a hotbed of acid jazz and jazz/hip-hop experiments. Does that interest you at all?

Stewart: I really don't get into terms, because I don't know what acid jazz is, I truly don't. For me music is just music, and if it expresses that person's individual psyche or they can get that across to an audience, it's cool with me.

Metropolitan: When you were on the road with Wynton playing Blood on the Fields, how did that music hold up night after night?

Stewart: One word: tiring. The piece is over three hours long, and we performed it almost every night. It's a great piece--provocative, with different moods and styles. But every night we'd have to try to figure out a way to keep ourselves involved, because some parts, it's just reading all night. It's really about discipline. We used to rehearse 13 hours a day, and then Wynton would want to go out and jam. I'm like, "Man, how do you do this?" He never stops.

Metropolitan: You've had some strong relationships with veteran musicians. What's the best advice older cats have given you?

Stewart: Whooo, man, I've got so much of that. Dizzy Gillespie told me to sing everything I play. He said if you sing it first, then you can play it. Eddie Harris told me, "Hit the groove and you'll work the rest of your life." Benny Golson and Eddie "Cleanhead" Vinson told me to learn the blues in all the keys. It was at the first jazz gig I ever saw. I was like, "Wow, I think I want to do this." And after the set, Cleanhead told me, "Yeah, junior, keep on keepin' on and play the blues in all 12 keys, and you got everything you need in music."

Metropolitan: I've seen - SF METROACTIVE


Robert Stewart - Red Records
By C. Michael Bailey

Old Wine, Old Bottles. I was cleaning out my to review list recently and came across a couple of older RED Records releases that I had not previously spun under the laser. Tenor Saxophonist Robert Stewart emerged first and I found this disc to me most enjoyable. Judgement is one of the most thoroughly entertaining jazz offerings that is hiding its light under the proverbial basket.

Robert Stewart has made his name being a musical jack-of-all-trades. He has orchestrated and arranged film scores (Howard‘s End and Remains of the Day), acted as engineer (Dennis Brown‘s Live In Montego Bay Sonic Sound 39), produced (Welcome To the Universe, Twisted 11753) and even performed with the Lincoln Center Jazz Orchestra: “They Came To Swing,” Sony 66379. He has released two discs on RED Records and Two on Warner Brothers. The All Music Guide cites Judgment as having been released on World Stage Records. It is the same recording as that released on RED, for whom I credit with the first release.

Equal Representation. Judgment has a little of everything, ballads, bossa nova, Hard Bop blues, minor blues, and one standard. The blues are the hard hitters with the Cornbread-like Speak Through Your Horn and the Watermelon Man-like Soul Searchin'. The ballads, Serene and Revelations are silky smooth and soft. As Time Goes By betrays Stewart's warm, broad tone as being influenced by Long Tall Dexter, Ben Webster, Hank Mobley, and Sonny Rollins. No Coltrane here, No.

Stewart is joined by Eric Reed on piano, Billy Higgins on drums, and Mark Shelby on Bass. The support is solid and crisply recorded. Reed, who most lately has been recording with Wynton Marsalis' Lincoln Center Jazz Orchestra and his Septet. Here he plays with a controlled funky abandon that he previously had little opportunity for. Higgins is his propulsive self. And Shelby, a rock bassist by trade, pulls a few jazz tricks out of his sleeves. This sold support along with Stewart's solid tone make this disc readily accessible to all. A superb jazz recording.


"Nat The Cat"

Nat The Cat
Robert Stewart | RED Records 123292

San Francisco Tenor Veteran Robert Stewart continues his productive run on RED Records with a tribute to a rarified and [instrumentally] little covered talent.

Nat King Cole has been the subject of several retrospectives in the last number of years, but none as unique as San Francisco native Robert Stewart's tenor tribute to the great singer.

Often lost on the average listener, Nat Cole was a superb jazz pianist with a polite, urbane style that perfectly complimented is friendly vocals. Stewart chose for his recital lesser-known Cole gems, with the exception of "Mona Lisa". There is no "Straighten Up and Fly Right" here, but the ballads "That Sunday, That Summer" and the "Ruby and The Pearl" are. Family members Kevin Stewart (piano) and Robert Stewart III (flute) join Stewart for this outing. Performances of note are Robert III's flute on the title track (composed by the leader Stewart) and "Harlem After Midnight".

Stewart's tenor tone is what the listener has come to expect from his past RED Records recordings Judgement and Beautiful Love. His playing and ideas are sure and well constructed. He and his band swing with a gentle momentum that is most certainly a tribute to the great Nat King Cole. The total sound of the recording is lush and soft, making it a perfect mood disc. I unconditionally recommend this disc.

~ C. Michael Bailey

Track Listing: Nat The Cat; Make Her Mine; Harlem After Midnight; Blue Gardenia; Somewhere Along The Way; A Blossom Fell; That Sunday, That Summer; The Sand And The Sea; I Don't Want To See Tomorrow; The Ruby And The Pearl; Mona Lisa. (Total Time: 58:52)

Personnel: Robert Stewart: Tenor Saxophone; Ed Kelly: Piano; Mark Williams Bass; Sly Randolph: Drums; Kevin Stewart: Piano; Robert Stewart III: Flute.


"Beautiful Love"

52nd Street Jazz
Reviewed By: Les Line

Dr. Robert Stewart
Beautiful Love (Red)

U.S. Release 1998 / Time: 60

Musicians: Robert Stewart (tenor sax), Eric Tillman (piano), Jeff Littleton (bass), Brett Sanders (drums)

Songs: Speak Low, Beautiful Love, Everything Happens To Me, You Don't Know What Love Is, Five Spot After Dark, Body and Soul, Canadian Sunset, Speak Low (alt)

Rating: 4 1/2 STARS

I can tell you very little about Robert Stewart except that he's a young Los Angeles-based tenor saxophonist who has listened to a lot of Ben Webster, and like his idol he's one hell of a ballad player with a sound and style that is at once familiar yet original (there's none of the "breathiness" that was a Webster trademark).

Stewart also kicks butt with a touch of Turrentine on up-tempo pieces like Benny Golson's "Five Spot After Dark" and the two takes of "Speak Low" that open and close this set. But it's the pretty stuff that lifts BEAUTIFUL LOVE into the must-have category for tenor sax fans who are tired of hard-edged neo-bop and would like to hear some melody for a change. "You Don't Know What Love Is," for example, is an eight-minute masterpiece. The tempo is as slow as it gets without being rubato as Stewart inventories and then embellishes the song before a half-chorus of startling improvisation by pianist Eric Tillman. Stewart even makes his mark on "Body and Soul," owned by Coleman Hawkins and leased to Webster; and "Canadian Sunset," which was the property Gene Ammons. I don't know what the tenor-man has been doing since he recorded this album for Italy's Red label four years ago, but I definitely want to run into him again.




1. Judgement
2. Soft Ballads - AKA: Beautiful Love
3. In The Gutta
4. The Force
5. Nat The Cat
6. The Movement
7. Heaven And Earth
8. Happy Birthday Trane
9. Don't Move The Groove (Vol. 1)
10. Don't Move The Groove (Vol. 2)
11. Don't Move The Groove (Vol. 3)
12. Invitation
13. Evolution




"Stewart is perhaps the most important young artist to come along in decades!"

Amazingly however, Robert Stewart did not even begin to play the saxophone until the age of 17. Born and raised in Oakland, California, basketball had been the primary passion of his youth. His 6ft. 4in. frame, earned him varsity shooting guard status on the Fremont High School basketball team for two years. However, Stewart was struck by divine revelation shortly after graduating from Fremont. While surfing the radio to find a Rap or R&B station, Stewart stumbled upon a traditional jazz piece being performed by a tenor saxophonist who sounded as though he were literally possessed or enraged. The intense pace of the tune was unbelievable. This piece was immediately followed by another of romantic or heavenly qualities, by a different individual; However, playing the very same instrument. These two jazz giants were John Coltrane and Ben Webster. The contrast in mood and timbre of the instrument played by the previously mentioned so overwhelmed Stewart, that he immediately asked his father to purchase a saxophone; Stewart's father happily obliged.

Though COMPLETELY SELF-TAUGHT on the saxophone and music in general (incorporating only an elementary saxophone manual for guidance), Stewart enrolled in a Jazz Jam Session class (under the persuasion of his ever insightful mother) hosted by the Bay Area piano legend, Ed Kelly. Another giant of the present day was also enrolled in this class with Stewart, Joshua Redman. As though the two previously mentioned weren't enough for a wonderful beginning, the saxophone titan Pharaoh Sanders would regularly jam in the class room with Stewart and the rest. Stewart's initial reaction to the eclectic, white bearded, tenor titan was: "Mr. Kelly, who is the dude with the white beard hanging down to his stomach like Santa Claus?" Kelly's response: "Man, that's Pharaoh Sanders; He played with Trane (Coltrane)." Consequently, the mere mention of the name (Coltrane) induced immediate respect and admiration for the bearded tenor titan. On a similar note, Pharaoh (while Stewart was playing) leaned over to Kelly and stated: "Ed, I hear something in this one." Hence, Pharaoh passed Stewart a note which stated: "Come over to my house tomorrow afternoon. I can help you with your horn." Stewart (living only 6 blocks from Pharaoh at that time) did as instructed. Stewart and Sanders maintain a blood brother relationship to this day.

However, it was through an elder Bay Area trumpeter (Robert Porter) that Stewart was introduced to the saxophonists and music of early America, such as Coleman Hawkins, Lester Young, Sidney Bechet, Lucky Thompson, etc. Consequently, it was Stewart's vast knowledge and performance of early American music styles that compelled the trumpet colossus and living legend Wynton Marsalis (whom Stewart first met and played with in a Jam Session in Oakland over a decade ago) to hire him for his Lincoln Center Jazz Orchestra (in which Stewart served a 4 year stint), and purchased a new horn for Stewart to do so. Stewart (whom Wynton has tellingly dubbed: "THE REVEREND") performs with Wynton and orchestra on the Columbia/Sony recordings: They Came To Swing, and the Pulitzer prize winning Blood On The Fields. The latter is a three-hour oratorio featuring Cassandra Wilson and John Hendricks. Stewart has also been filmed with Wynton on the award-winning television program Sessions At West 54th Street, Marsalis On Music (with legendary conductor Segi Ozawa), and the South Bank Series for Bravo Television. Stewart has toured the world with Wynton and has also performed, recorded, or toured with the following:

President Bill Clinton, Dizzy Gillespie, Max Roach, McCoy Tyner, Doc Cheatham, Benny Golson, Jimmy Smith, Pharaoh Sanders, Eddie Harris, Freddie Hubbard, Milt Jackson, Billy Higgins, Donald Byrd, Barry Harris, George Coleman, Branford Marsalis, David Murray, Kenny Kirkland, Jeff "Tain" Watts, Bobby Hutcherson, Pony Poindexter, Big Jay McNeely, John Lee Hooker, John Handy, Donald "Duck" Bailey, Freddie Redd, Jon Faddis, Billy Mitchell, Etta Jones, Cassandra Wilson, Ernie Andrews, Eddie Moore, George Cables, Ray Drummond, Chico Freeman, Roy Hargrove, Marcus Roberts, John Hendricks, Les McCann, Cyrus Chestnut/Donald Harrison, Joshua Redman/Brian Blade, James Carter, Bobby Watson, Sonny Simmons, Lavay Smith, Jules Broussard, Greg Philingains (Michael Jackson), Terri Lynn Carrington (Arsenio Hall), Lenny Williams (Tower of Power), Felton Pilate (Confunkshun), and many others.