Thomas Doggett

"...songs where the Circuit and TKD are joined by guitarist Aaron Mahoney are among the disc's best. ...shows off TTaaS's all-important ability to create a sultry mood. The epic "Getting There"'s steady drum 'n' bass beat provides a solid floor for atmospheric eddies of guitar, meshing surprisingly well with more organic elements such as chimes and TKD's birdlike saxophone." Splendid Magazine 2005. - Splendid Magazine

"Soundscapes lead to breakbeats before flying off into acid-jazz undertakings. Sometimes simplistic and downtempo, occasionally motivating and agitating. Two Turntables and a Saxophone (6 out of 10)" Maximum Ink Music Magazine 2005 - Maximum Ink Music Magazine

Our concerts conclude with Charles Savages’ Mad Rush to the End. Clarinetist Cynthia Krenzel-Doggett and tenor saxist Thomas Krenzel-Doggett take the stage for a piece described as “hurry up and wait.” A perfect piece to conclude these days of music. Vibrant, chromatic runs and punchy angular leaps are the most salient characteristics here. Tension builds throughout the counterpoint and rhythmic energies intensify. Unison licks bring the whole to a conclusive ending. Bravo! - Society of Composers

“His diversity as a performer, skilled in both classical and jazz repertoire, in addition to being an accomplished flutist, provides an excellent model for the skills necessary to succeed in the ever-changing music industry.”~Greg Banaszak - Saxophone Journal

Wednesday, September 21, 2005
Two Turntables and a Saxophone: Where it's at

KARI WETHINGTON | CIN WEEKLY

Thomas Krenzel Doggett never guessed that one day he'd be playing festivals alongside a vinyl-scratching DJ. A classically trained musician, Doggett plays saxophone and flute, and he makes his living as a music teacher. But it's the unexpected influence of hip-hop on his music, by way of local DJ The Late Circuit, that made him realize his musical potential.

"(Playing with Late Circuit) gave me a new way of looking at my music - a completely different perspective," Doggett says.

When the two get together as Two Turntables and a Saxophone, their sound is experimental, jazzy, ambient hip-hop, in the vein of DJ Logic or DJ Shadow. "I'll play a solo line on flute and he'll answer it with scratching," Doggett says.

The Late Circuit's training was more trial and error; he bought some turntables after dropping out of NKU and started spinning at gigs for the fun of it, eventually getting regular appearances at local clubs.

The two met in 2002, just a week before Doggett's solo show at MidPoint. Late Circuit had heard Doggett's recordings, and after they talked, the two ended up playing an improvised set.

"Tommy's just such an open guy," Late Circuit says. "I'd been looking for somebody with an open mind to play with for a long time."

The musicians have a long-distance relationship - Late Circuit lives in Covington, and Doggett recently moved from his native Cincinnati to Iowa - and both have families. Their goals are not of the lofty travel-the-world sort. They just want to be heard and to make music for life.

"My mantra is longevity," Doggett says. "I want to be in music forever."

MidPoint has helped the band reach its goals in the past. In 2003, Doggett hooked up with Jon Delange of Minneapolis' Tinderbox Music, who got the band radio play on stations across the country.

Doggett says every new MidPoint is a chance to learn new things.

"The quote that I heard years ago that focused me is that there's no such thing as a big break, it's just a series of small little breaks," he says. "That clearly defines my MidPoint experience. I'm not going to go there and just explode. I'm going to go and make more contacts."

SEE 'EM AT MIDPOINT: 9 p.m. Friday at Jekyll & Hyde's, second floor - CIN WEEKLY

RawRip review: More Than Sax!
2006-Dec-19
Thomas Krenzel Doggett: More Than Sax!


A masterful warlock when it comes to experimenting with wind instruments - especially saxophone and flute - Thomas Krenzel Doggett is a multitalented musician and composer, whose impressive sax experiments will definitely trigger your imagination.

Thomas has made an amazing contribution to the underground industry, getting much acclaim and becoming an honorable member of the music faculty at Central College in Pella, Iowa, where he teaches improvisation, sax and flute. Thomas is not only a solo musician, but also a member of such music projects as the ‘Two Turntables and a Saxophone’ (with DJ Late Circuit), and the ‘KrenzelDoggett’ woodwind duo, where alongside with his wife Cynthia Krenzel Doggett, he offers musical journeys into the saxophone and clarinet wonderland. You can also find his initials listed as a guest star in various other projects: a fact that once more shows the multilayered talent of this man.

The project ‘Two Turntables and a Saxophone,’ presents its listener with a vibrant, skilled and fresh-sounding fusion of acid-jazz, breaks and turntablism crowned with TKD's remarkable skills in sax improvisation. _Their track “At Peace” – composed by TKD and The Late Circuit and featuring Aaron Mahoney on guitar – is an impressive upbeat acid jazz example that communicates an intense vibe to the listener. While the saxophone provides additional smooth texture to the overall sound of the track, the occasional vocals (both male and female) and the turntable effects impart a more contemporary sound. Listen to the track and see for yourself! You’ll feel both a luminous tranquility, and an earthly velocity taking you on a magnificent journey…

Surely, the music of Thomas Krenzel Doggett is designed for those who always have a hunger for that avant-garde feeling in music, daring hybrids of various genres (from rock to trip-hop), unpredictable turns in arrangement and certainly that nicest and emotional wind instrument called saxophone - RawRip.com

"The Nadas retained their title for another year, but R&B group One Nite Stand continue to close the gap."
- Cityview Des Moines

Live Review: Corey Taylor & The Junk Beer Kidnap Band — The Key Club, Los Angeles
Corey Taylor is rock n' roll's last true outlaw.

During his set with The Junk Beer Kidnap Band tonight at the Key Club, the Slipknot and Stone Sour frontman came out with all guns blazing.

In fact, Taylor is a "badass motherfucker"—in the Quentin Tarantino sense of the term. Like a character right out of Pulp Fiction, this real life Reservoir Dog has got a sharp sense of humor, exudes an undeniable cool and always manages to capture the attention of everyone in the room.

Now Junk Beer Kidnap Band differs immensely from Slipknot's aural apocalypse and Stone Sour's anthemic, poignant hard rock, showing a somewhat softer side to one of the most vibrant frontmen of our generation. Taylor looked at home the second that he hit the stage though, and he was the ringleader of a rollicking good time for the next 30 minutes.

This is beer-swillin' infectious rock music at its best. Original cut, "Kansas," was so catchy that it could push the Foo Fighters off the charts. It built up into pure rock gold, and Corey carried every line flawlessly. He even got the crowd chanting the chorus to the tune. It's a guaranteed hit once it invades airwaves, and something for fans everywhere to look forward to.

These Inglourious Basterds kicked off the festivities the best way they knew how—with a metallic cover of Prince's "Let's Go Crazy." Taylor was all smiles as he riffed out the main verse, belting out the refrain with gusto and grit. "Through Glass" saw Taylor's Stone Sour comrades, Roy Mayorga and Shawn Economacki join him. It's one of those rare hits that gets better with each performance. "Shine" was another fiery bruiser, and Taylor tore through it with swagger and substance.

"Bother" brought the set into emotional territory, while allowing the singer to showcase those immense pipes. Everything ended with a pummeling and powerful cover of Nine Inch Nails' "Wish" that saw a shirtless Taylor thrashing about with Slipknot-level intensity and something of a cathartic sensitivity. Bassist Jason Christopher kept smiling though as he seamlessly pounded away the groove, and Taylor flashed a grin and a middle finger as the song's distorted din rumbled into the distance.

As the band cleared the stage, Taylor walked off in silence alone—what's more badass than that?

—Words: Rick Florino
Photos: Corey Soria
09.29.09
- ARTISTdirect News

Junk Beer Kidnap Band info from the man himself: Corey Taylor

"I had wanted to start the first stoner rock disco funk band- basically a cross between Sabbath, Prince and Zappa- so I assembled a crack squad of aloof yet courageous bastards to do so. We wrote 9 songs in that strain, but then we started jamming my solo material. Sounded great, and I was planning to do some solo shows anyway, so I asked JBKB to back me on the shows.

The members include Fred Missouri and Ryan Berrier of FaceCage, THE Thomas Doggett of One Nite Stand, Tyson Leslie from too many damn bands to count, and Nik Sorak of the Dead Wait. The music is pure Midwest rock- The Replacements, Social Distortion, Foo Fighters, ETC. It is NOT heavy metal. I'm in 2 other bands that play that. This is rock with big chords, huge choruses and a lot of melody. No plans to record yet, but I'm working on it.

Oh, and we do a cover of 'Let's Go Crazy' by Prince. That mixed with some Corey Taylor originals, a couple of Stone Sour songs and a mystery cover... should be an interesting afternoon."

So there you go. They play May 31 at Lazerfest. - Metromix Des Moines

I've got to say that I saw a few outstanding bands on this little Midwest swing. At the top of the list was Corey Taylor, doing solo gigs with some friends he grew up with. You may know Corey as the lead singer from Slipknot and Stone Sour, but I know him as a guy who just likes to rock and have fun doing it. His band out-Loaded Loaded as they came on stage to the Magnum P.I. theme song doing a choreographed dance, and then proceeded to play "Let's Go Crazy" by Prince. They CRUSHED it! The heavy-metal crowd was further bewildered when they saw their Slipknot hero go from the theme song from Cheers into "Pig" by Nine Inch Nails. It was absolutely superb. To me, when you can flat-out rock and also take the piss out of yourself...then you are doing something right. - Reverb: Seattle Weekly