Saxophonist Greg Abate

By Bob PROTZMAN

Perhaps you have heard about all those jazz musicians who cannot get gigs, are underpaid and over worked when they do, are underrated by critics and unappreciated by audiences.

If so, please do not count veteran saxophonist Greg Abate (a-BOT-ay) in their numbers.  “I don’t want any of those “starving artist’ stigmas,’’ he says. “I’m living my dream. I have my own home, a family. I’m recording and playing regularly with some great musicians. I’m a jazz educator. I regard myself as a successful artist.’’

In fact, he believes many jazz musicians in this country are having similar success doing things the same way as he.

A big part of the 59-year-old Abate’s approach to an artistically satisfying and financially rewarding career is travel—and more travel—about an average of 130 to 150 days a year.

His slogan could be: Have Saxophones and Flute; Will Travel.

In fact, when reached by phone, Abate, who lives in Rhode Island and speaks with a broad Boston-New York combo accent, was on his cell in  car heading from Milwaukee to Madison in the great state of Wisconsin.

Usually, he explains, he will fly to the nearest airport, and then rely upon the people who’ve hired him to provide automobile transportation to the clinic and/or performance destination.

Is it a drag? On the contrary, he says. “I enjoy life on the road, yes, I do.’’

By his count, Abate—considered by most critics and aficionados to be one of the best alto players on today’s scene--has been to 48 states (all but Oregon and Hawaii), plus Canada, Russia and other European countries, and Japan.

At least a couple times a year, he makes the short trek to New York City to play clubs like the Blue Note and Birdland. In fact, his first album as a leader was a live date at Birdland with some outstanding sidemen—the late pianist James Williams, bassist Rufus Reid and drummer Kenny Washington. “I do better playing outside New York, however,’’ he says.

Abate’s travels will bring him to Erie and the papermoon (Ed. This is how papermoon wants its name spelled) Saturday night for one of what Erie drummer Joe Dorris hopes will be a series of bookings of nationally known jazz musicians at the restaurant/jazz club. Vibraphonist Steve Hobbs is set to play there on March 18.

In preparation for visiting musicians, and for the benefit of its regular weekly performers, the papermoon has built a stage, attempting to solve a serious sightline problem.

Abate and the Erie players hosting him have never met, let alone played together, so there will be some getting used to one another, personally and musically.

That’s the kind of situation Abate faces constantly, so one wonders how he deals with it, and how things generally go.

“I know it’s going to be what it’s going to be. Most of the time, it’s good. Sometimes it’s bad when certain people are not that good on their instrument,’’ he says.

Not a bandleader at home (“players can’t sit around and wait for me to show up from my travels’’), Abate feels, however, that he’s a leader when the guest artist.

“I call the tunes and count the tempos, so I guess in that respect I am the leader. But everyone in my group has equal time. I don’t like to be the main focus. Everyone can stretch out as much as they want.’’

Abate revels in the freedom of expression allowed by jazz, especially the harmonically sophisticated style known as be-bop. “There’s nothing like playing bop. I like to do things spontaneously. I hate to rehearse. I like to get up there and play the real thing in the moment. I like to take chances.’’

Abate has had brushes with reaching even a higher level of success.

His 2004 album “Evolution’’ made the Grammy ballot in four different categories, but failed to get a nomination, and he has had several of his dozen or so albums make the popularity and/or airplay charts (as high

as No. 3) in different publications.

Down Beat used to have a poll category called Talent Deserving of Wider Recognition that, today, would fit Abate perfectly, because just about everyone who hears him is knocked out, including peers like the late baritone saxist Nick Brignola, who called Abate “a star.’’

The highly regarded website allmusic.com describes him as a “superior bop player,’’ and most critics have been very positive. “Dedicated to uncluttered, unswerving, uncompromised jazz,’’ said Mike Joyce in the Washington Post. Ken Franckling in JazzTimes magazine praised Abate’s “wonderful intensity.’’ “An absolute powerhouse…one of the most exciting players around today,’’ said a Hartford, CT reviewer.

Abate, who grew up in Woonsocket, RI, began playing clarinet at 5. His interest in jazz blossomed in high school (also the alma mater of the late pianist Dave McKenna).

“Paul Desmond on Dave Brubeck’s ‘Take Five’ was the first alto player I ever heard, and I loved him right away,’’ recalls Abate, who quickly switched horns. “Then I got into Cannonball (Adderley) and Stan Getz, and was on my way.’’

His next major developmental step was to enroll at the highly regarded Berklee College of Music in Boston for a stint, and then he was off to the West Coast to start playing as a pro. He worked five-six nights a week and built up his “chops’’ or technique, he says.

He went back to Berklee to finish his formal training, and returned to the West Coast, where at age 28, he auditioned successfully for the legendary Ray Charles Orchestra, replacing the great Eddie “Lockjaw’’ Davis, who had just left.

He says being with Charles was a terrific learning experience. For one thing, he added flute to his arsenal of alto, tenor, baritone and soprano. In the manner of be-bop sax icon Sonny Stitt, Abate is a strong tenor player, although he regards alto as his main instrument. He will have alto and soprano with him at papermoon.

Abate left Charles after two years (1973-74) because he wearied of playing the same songs (even though the “book’’ contained arrangements by such noted folks as Quincy Jones and Bill Holman) and one too many solos only a single chorus long.

Illustrative of the respect Abate commanded even 30 years ago is the story about his attempt to get Mr. Charles to fire him rather than quitting the band. “I burned some (wooden) reeds onstage during a rehearsal. Ray called me to his hotel suite, but let me know he knew what I was up to and he was not going to accommodate me. ‘I’m not going to fire you,’ he said. Then he gave me a raise.’’

In 1986, with the Artie Shaw ghost band directed by the superb clarinetist Dick Johnson, Abate again picked up some valuable lessons. “I really learned a lot of standards, and to feel the pulse of the music with a swing band,’’ he says. Again, playing the same repertoire repeatedly and limited to solos as short as 8 bars, he soon said adios.

“I don’t go after glory or even compliments, though people give me a lot of praise,’’ Abate says. “I have my own style and sound. I do feel that I am worthy of more recognition, but I’m proud to have the ability to play my horn the way I do.’’

Greg Abate, with pianist Basil Ronzitti, bassist Tony Stefanelli, drummer Joe Dorris, percussionist Nick “Tito’’ Ronzitti
8-11 p.m. Saturday; $5 cover
papermoon Restaurant Gallery & Jazz Club, 1325 State St.
Information and reservations: (814)-455-7766

Abate, a Conn-Selmer clinician, will conduct a free clinic for all players, all instruments and all ages, sponsored by Lynch Music, JazzErie and Conn-Selmer.

When: 1-3 p.m. Saturday
Where: General McLane High School, Edinboro
What to Bring: Notebook and pen
What to Expect: Some exciting new ways to approach music
How to Sign Up: Reservations are not required, but appreciated
Who to Contact: Call Lynch Music at 474-2970 or 474-2027, or e-mail your name to info@lynch-music.com

Bob PROTZMAN writes about jazz for Down Beat and other publications, and hosts “Everything Jazz,’’ 9 to midnight Sundays on WQLN-FM, 91.3. E-mail him at protz@verizon.net.