Nick Brignola

Nick Brignola is a master of many reed instruments; an award-winning baritone saxophonist with a warm, distinctive tone, Brignola also displays outstanding abilities on alto sax, clarinet, flute and piccolo. As a seasoned veteran of both big bands and small ensembles, Brignola is comfortable in a variety of settings. On this show, he joins us from the comfort of his hometown, as Dr. Taylor and his trio take the show on the road to Troy, NY. Brignola brings down the house with an enchanting rendition of Richard Rogers’ “Lover” to kick off the performance.

Dr. Taylor remarks on the respect Brignola has earned from fans and musicians far beyond his local area, noting that Nick has been selected as the number one baritone saxophonist in both the Down Beat and Jazz Times polls. Ironically, the baritone sax was not Brignola’s original instrument of choice; he says it he saw it as “too big and too heavy.” He started on the clarinet and gravitated towards the alto saxophone. When his alto needed repair, his local music shop only had a baritone sax to lend him. It was in the same key and, they said, “a little bigger…[so] you just have to blow harder.” Reluctantly, Brignola took it to his gig that night, only to receive a number of compliments on his sound.

Brignola’s first instrument was the clarinet. He recalls, “all the bandleaders…were clarinet players…Woody Herman, Benny Goodman, Artie Shaw, Jerry Fielding.” These influences inspired Nick, who was completely self-taught on the instrument. He says he was blessed with a good ear, which was essential in his learning process. Brignola was further inspired to learn the clarinet when he observed the failed attempts of his relative, “[who] played very badly.” He cites clarinetist Paul Desmond of the Dave Brubeck Quartet as an important influence, noting “his simple lyricism and the way he played a melody…and deviated from it with class.” Saxophonists Charlie Parker and Sonny Rollins would inspire him as well.

Dr. Taylor notes Brignola’s proficiency with ballads, and suggests playing “You Go To My Head.” Our guest obliges and, after a gorgeous rendering, remarks, “If I had my choice, I would play ballads all the time.” Billy then asks Brignola how he found his unique voice on the instrument. Nick attributes his personal approach to “total ignorance.” The fact that he was self-taught and unaware of standard practice methods enabled him to develop a style that came most natural to him. He says his fingering techniques are still unorthodox, but fortunately the results consistently win over audiences.

Dr. Taylor notes that Brignola played in the big bands of Charles Mingus and Duke Ellington, as well as a short stint with the Woody Herman orchestra. Nick extols the benefits of playing with large ensembles, which concentrate so much musical talent onto one bandstand. An early experience sitting in with the Ellington orchestra inspired Brignola’s commitment to the baritone sax. Nick became acquainted with the father of jazz baritone, Harry Carney, who played with Ellington for over 50 years. Carney encouraged him and complimented him on his unique sound.

More recently, Brignola has toured in Europe with the Phil Woods Octet, which he characterizes as a “little big band…five horns, bass, piano and drums.” Brignola says it’s a fun set-up, one that gives musicians the freedom of a small group with the fuller sound of big band arrangements. At one point, Dr. Taylor suggests playing Brignola’s version of “Poinciana,” which combines an interesting harmonic approach with elements of pianist Ahmad Jamal’s arrangement. Much to the audience’s delight, Brignola and Billy’s trio deliver another riveting performance.

A member of the audience asks Brignola about his own philosophy on teaching, given that he is self-taught. Nick says his most important lessons were through personal interaction with other musicians, so he shares such personal experiences with his students. A question about improvisation yields humorous responses from Dr. Taylor and Brignola. Both esteemed musicians admit it to having been “painted into a corner” during a solo without being sure how to get back to the melody. Brignola says that resolving this predicament often produces very creative moments out of sheer necessity.

Back on the bandstand, Brignola does a rousing rendition of Tadd Dameron’s “Good Bait,” before closing out the show with a composition of his own, the up-tempo bob-inspired “Like Old Times.” As usual, good times are had by all on this special “on the road” edition of Billy Taylor’s Jazz at the Kennedy Center.