Meet the Late Harvest Jazz Musicians

Brett Haglin

 

Brett Haglin imbues Late Harvest Jazz with smoothness, much to the pleasure of his many, loyal fans. With a new focus on solo expression, the exciting, suave sound that he makes his own is certain to gain acceptance and accolades from an ever-growing legion of listeners.

The refinement of his individual style is the result of significant musical influences. His initial introduction to the saxophone came from listening to his older brother practice. Following in his brother's footsteps, he began to play alto sax while in elementary school and added the tenor, bari and soprano saxes as his talent began to manifest.

Born in Colorado, Brett’s real musical journey began in Arizona where he focused his attention on classical saxophone. Winning several major competitions in the field of classical saxophone performance, Brett went on to study with Fred Hemke at Northwestern University. But he couldn't resist the call of jazz. He emersed himself in recordings of the jazz elite (Sonny Rollins, Charlie Parker, John Coltrane and many others), all of whom played a role in the path his musical journey has taken.

Embracing his exploration into jazz, he began playing in various venues in Phoenix, playing countless gigs with the best musicians in Arizona. In 1989, his versatility landed him a spot in the Groove Merchants horn section as the bari sax player. Not much later, Brett became the stand-out tenor sax soloist in the section - a position he continues to enjoy today.

As he continued to cultivate his characteristic voice, other saxophonists entered his sphere of influence. Paul Desmond, Grover Washington Jr., Stanley Turrentine and Michael Brecker pushed Brett toward the sophisticated end of the spectrum. Finally, after mastering his transition toward a new sound, Brett collaborated with Jack Bannon, Rich Cross and Dean Randall to form Late Harvest Jazz as a vehicle for exploring the smoother side of life.

And as if enjoying the success of Late Harvest Jazz, playing in the Groove Merchants and sitting in with various bands around Phoenix isn't enough, Brett continues to teach economics to the seniors of Mesquite High School and serve as the iron-fisted commissioner of the Late Harvest Jazz fantasy football league.

Jack Bannon
 

Jack Bannon contributes a sense of simplicity to Late Harvest Jazz. Most listeners describe his playing as lush, full and relaxed.

The feelings of ease and relaxation that he imparts to his audiences come from incalculable hours of practice and attention to nuance. Growing up in a musical family exposed Jack to many forms of music. His grandfather was a full-time jazz pianist/leader with various dance bands in central Pennsylvania while his mother played both clarinet and piano. His father, while not a musician, listened to a wide variety of music and possessed an unparalled collection of recordings. When he turned 10 years old, Jack jumped at the opportunity to learn an instrument, beginning a lifelong love affair with the trumpet.

After studying with some of the best teachers in Arizona and California, Jack accepted a music scholarship from Arizona State University where he focused on the study and performance of classical music. Graduate studies at the University of Nebraska-Lincoln led to him finishing his Masters degree in music while performing with the United States International Chamber Players based in San Diego, California. Moving back to Tempe in 1991, Jack concentrated on broadening his repertoire to include jazz. The flugel horn playing of Clark Terry and the trumpet styles of Clifford Brown, Chet Baker, Terence Blanchard and Dizzy Gillespie continue to be strong sources of inspiration.

He soaked up more knowledge sitting beside Arizona's top jazz players in various Valley big bands. In 1994, his long-time friend, Rich Cross, invited Jack to join the Groove Merchants horn section - a position he continues to enjoy today. A well-rounded, Jack-of-all-trades trumpet player, he maintains his skills as a classical player and jazz section player by lending his musicality to several ensembles in the Phoenix area. In perpetual pursuit of new musical experiences, Jack eagerly joined Brett Haglin, Dean Randall and Rich Cross in forming Late Harvest Jazz. Newer artists like Chris Botti and Rick Braun, along with their predeceesors Herb Alpert and Al Hirt, finalized Jack's musical re-invention.

Although the newfound passion for songwriting in the Late Harvest Jazz genre consumes much of Jack's time, he is still able to impart his considerable musical knowledge to Arizona's youth in his role as an elementary school music educator, clinician and festival adjudicator.

Rich Cross
 

Rich Cross hails from the great city of Big Shoulders… Chicago. A near graduate of Arizona State University, Rich now holds a Doctorate of Jive. While never actually earning a degree, he has occasionally been seen holding some sort of official looking piece of paper. Despite rumors to the contrary, Rich is not naturally a bald guy, he just plays one on TV who just happens to carry a large instrument.

The incredibly high tone produced by Rich and his educated embouchure have found him in the pantheon of local music legends' recording sessions adding polish to the recorded works of Poets Corner, Chuck E. Baby, and of course, along with the rest of the Late Harvest Horns, featured spots in most of the Big Nick & the Gila Monsters catalog.

Dean Randall
 

Dean Randall pours forth talent as big as his baritone saxophone. As his ever-growing deluge of devotees are so fond of saying, Dean puts the low in mellow, his sound reaching out to envelop and hold you in a warm embrace.

The evolution of Dean's individual style originates with him growing up around music. Having several relatives, including his mother, as founding members of the famous Chicago-based “Velvetones” brought a consistent wealth of musical experiences into his childhood home. When Dean turned twelve, his uncle and godfather introduced him to the saxophone, and it wasn't very long before Dean wore out every Chicago, Blood Sweat & Tears, and Earth Wind & Fire album in Illinois!

Dean's deep love of those bands sparked an immediate need to learn about arranging. In 7th grade, he began transcribing Chicago & BS&T scores. By high school, he added the guitar to his instrumental arsenal and delved into the world of rock music with some friends and brothers, creating the group “Four On The Floor.” Fascinated by sound reproduction, Dean embarked on an exploration of electronic sound system design while still in high school. By seventeen, several of his arrangements had been premiered by the award-winning Flora High School jazz Band.

In a difficult decision, Dean chose to decline an invitation to attend the world-famous Berklee College of Music. To be closer to his extended Italian family (is there any other kind?), he chose to attend Southern Illinois University (Edwardsville) where he studied classical and jazz saxophone and graduated with a jazz performance degree. Always striving to elevate his compositional abilities, Dean apprenticed himself to Brett Stamps, the celebrated composer/arranger from the University of Miami & Stan Kenton Band fame.

Expanding his instrumental inquiry, Dean focused on the baritone saxophone for several years. Over time, his saxophone prowess grew to a mastery level on the alto, tenor and bari in equal measure. Emulating his favorite sax artists (Gene Ammons, The Brecker Brothers, David Sanborn, Phil Woods and Cannonball Adderley), he emerged from their influence with a sound entirely his own.

Dean toured with the contemporary R&B dance group “Madway Café” for several years, playing saxes and keyboards in addition to providing many of the band's arrangements. When not on tour, he continued studio writing and recording for several other local artists including contributing the background soundtrack to “Is We Is,” a novelty video with national airplay.

Relocating to Phoenix (seriously, it's just a little less snowy than Chicago), it didn't take Dean very long to work his way into the local music scene performing with the Scottsdale Community College Monday Night Jazz Band and several, high-profile entertainment agencies and variety groups. Dean performed at the renowned Montreux Jazz Festival in 1991, and participated in a performance tour of northern England in 1992. Joining the Groove Merchants in 1995, Dean continues to anchor the best horn section in Phoenix as its baritone saxophonist and primary arranger.

Inspired by the 2001 Fountain Hills Jazz Festival, particularly the performances of Michael Lington, Warren Hill and George Benson, created the blueprint for Late Harvest Jazz. Through his connections with Bose Electronics and his affiliation with the Groove Merchants, Dean and the other horn players (Jack Bannon, Brett Haglin and Rich Cross) are pioneering artists for the Bose's cutting edge, live-music sound technology. Dean's experience in arranging, performance and sound design has a new muse in Late Harvest. The musical horizon beckons.

 

 

Kaleb Anderson
 

Kaleb Anderson takes a different approach to yardwork than the rest of us. Rather than worry about weeds, ants and the other normal gardening issues, Kaleb prefers to encourage his grass to grow by setting up a plethora of percussion and laying down some root grooves.

Also the drummer for the wildly popular "Ten Dollar Outfit," Kaleb is among the most versatile percussionists in Phoenix. Any beat, any instrument, any time - if it can be hit, slapped, pounded or struck, Kaleb will make it groove.

The youngest, tallest, best looking and most energetic of the Late Harvest collective, Kaleb's vibe is Kaleb cool. With a near constant connection to the pulse of the drumming world, he takes the best beats from groups that influence him and melds them into his own inimitable style. Listen closely and you can hear echoes of Maceo Parker, Lettuce, Steve Gadd, James Gadson, Homer Steinweiss and many, many others.

Morgan Teresa

 

 

 

Morgan Teresa: In a musical community permeated by divas screaming for supremacy, Morgan Teresa’s soulful sensitivity is as welcome as a mint julep on a hot summer’s day.

Bitten by the music bug at an early age, Morgan dedicated herself to years of comprehensive, personal study of her favorite artists including Anita Baker, Natalie Cole and Phyllis Hyman. She saturated herself with the sounds of classic Motown, Jazz and Funk. "I just loved listening, that was a big thing for me. Listening to every solo singer and group that had style. You know, the ones that really knew how to infuse emotion into the most simple phrase," Morgan says.

After concluding a three-year tenure as an Arizona Cardinals Cheerleader, and their principal tour singer, Morgan is focusing her attention on music and choreography, routinely working with Arizona’s professional sports dancers as a choreographer. The Phoenix Suns, Phoenix Coyotes and Arizona Rattlers place a premium on her services. Recognizing a unique musical talent, these teams have Morgan on their National Anthem audition committees and frequently invite her to sing at games. The purity of Morgan’s anthem rendition captured the attention of the U.S. Armed Forces Entertainment Organization who invited her to perform on military bases throughout Kuwait, the United Arab Emirates and Iraq. Morgan fondly remembers one particular performance, “The most fun and rewarding performance was singing in the chapel at Fallujah, Iraq in front of a thousand U.S. marines.”