by

Stephen Fratallone/ Jazz Connection Magazine

          Since he was a teen, Benny Reid has been navigating through the volatile seas of life on a relentless voyage of self-discovery. Despite having tread some stormy gales in the past, the 26-year-old alto saxophonist hasn't "arrived" with any definitive answers as yet, but he has made some impressive strides. The fruits of those efforts are reflected in Findings, a collection of six stirring suite-like original compositions that appear on his debut album on Concord Records. (See Benny Reid Findings CD)

Findings seems an appropriate title for Reid's project as he was attempting to "find himself" through music while addressing other existential questions about life that have challenged him for quite some time. 

"I'm a deep-thinking person that's always pondering serious issues or life issues," said the gregarious and energetic-sounding Reid via telephone from his home in Long Island City in the borough of Queens, New York City. "I'm always thinking why things are the way they are. During the time when I wrote these compositions, I was thinking about all kinds of serious questions; about death, what I am going to do with my life, how all of this is going to work out. Is destiny a reality? Is our life on a charted course? I think these are questions everyone thinks about, so I'm just channeling it into my music. The album's title is based on the emotions that I was feeling at the time. Findings is also about the quest for peace. I was looking for peace a few years ago and I've found some of it now. I want to be happy in spite of the events that have gone on."

The impetus for Reid's musical expedition came thirteen years ago as a result of the death of his 14-year-old sister, Alina. Her passing dramatically affected the young saxophonist, thus changing the course of his life, he said. 

"It made me who I am today," Reid said. "Her death was something that destroyed my family and me at the time. Her and I were very close. When she died, I didn't know what the hell to do. I delved into music full throttle as a way of escape. I loved music anyway, so I devoted my life to music soon after her death. Since her passing, I've been trying to make sense of it as well as other things like why things happen, destiny and finding yourself, finding a path to happiness and getting over painful issues of the past. Everyone has them. For me, it effected me very strongly."

Reid's focus on music became for him a catharsis, he said.

"It still drives me," he said. "Back when I was a kid I promised myself to honor Alina through my music. That's why I dedicated the album to her. Now I am finally able to say, 'This is for her.' I really got deep into playing because that was my way out. I remember in grade school just sitting around transcribing Joe Henderson solos for hours each day. That was my escape and I went full force into it. Later on when I began to write tunes, they tended to be sad or touching or sentimental somehow. There was always a deepness to them, and that hasn't changed because I still feel very sad about my sister. I don't want people to feel sorry for me but the fact is, that's what made me who I am and it's really the defining factor of why I do what I do."

The music for Findings, composed over a two-year period, flows with dramatic melodicism that is saturated with a provocative and atmospheric pulse. It spans a pallet of emotions, while providing a relaxing yet stimulating vibe. It flirts with a smooth jazz sound while not settling in any one particular jazz camp. It's fresh and potent, full of verve.

"I have a broad concept; to make very large, melodic, symphonic tunes," said the saxophone phenom. "This is my style of writing. I didn't sit down and plan what I was going to do for this album. When I wrote the music (five years ago), the pieces seemed to all flow together. It came from a melodic mind-set where the root of everything has to sound very pleasing to the ear. Inside of that it has a level of complexity. All the tunes eventually became united after I composed the third song. I found my new style."

Findings opens up with Destiny?, a deceptively simple piece with a sophisticated bravado to it.

"It has a little bit of everything in it: tempo changes and various expressive melodic sections," Reid said. "There are major transitions in it and differences within itself. There is also a ¾-time section that 'floats' as taking one on a journey. Every song I compose must take the listener some where. The listener has to feel like they are traveling in and out of time or something. Destiny? perhaps does that the best."

Reid titled the song with a question mark on purpose, he said.

"I was thinking about destiny in terms of if it's true," he said. "Is destiny real or isn't it? Is it a figment of our imagination or are we on a course because of God or some other force or power? The tune reflects what I was wrestling with concerning those kinds of questions about destiny."

Two wordless vocals grace the album's canon, providing an ethereal feel: Transient Melody and Dancing With My Father.

"Transient Melody was the second tune I wrote after Findings," explained Reid. "This is the ballad piece on the album. It's the slower, more emotional piece. I'm fortunate to have written what I think is a beautiful melody. This is the most expressive piece on the album. It has a more uplifting solo section. I made use of the vocals and a claming down section with the guitar and myself alone. It goes through a lot of chord changes using the same melody.

"Dancing With My Father is the epic tune of the album. It starts off with the piano line and I solo along with the piano more intimately. There are a few vocal sections that are beautiful with the major chords. This leads into the driving melody section with the use of the acoustic guitar. I like that sound where the guitarist is strumming a lot. The 'hook' melody is very powerful with the voice layered on top of the horn. Again, it has a major 'build' section toward the end with lots of tension and use of keyboard pads over some complicated chord structures."

Waves Of Red, a progressive piece with post-bop overtones, is an offering that Reid dedicated to his departed sister who had red hair, he said.

"Waves Of Red is more of my feature tune because I'm pretty much soloing throughout the whole piece," Reid said. "It was conceived with the idea of a single progression that uses dynamics and tension. It then comes to a climax and at that time the chords change up which creates a 'relief' feeling and 'open' kind-of-feeling. I use this in a couple different sections in the tune. I think it worked out very effectively."

Benny Reid and members of his recording band during a rehearsal. Aaron Goldberg is at the piano; Richard Padron,

guitar; Rueben Rogers, bass; and Antonio Sanchez, drums.

Findings: A Quest For Peace starts off with a more laid-back, classic straight-ahead sound then switches to a funk groove, then reverts back to the classic sound.

"This is the 'baby'; it was the first piece I wrote while I was in college," Reid recalls. "Originally, I just started with the introduction of some open chords which naturally led me into writing the melody which is based on that. That's the focal point of the piece. I like to use different grooves in different sections. I made a funk groove I was working on. It has a simple chord structure with a complicated rhythmic pattern. It created the energy of peace which transitioned to a Maiden Voyage-type groove. I love Herbie Hancock's music. His Maiden Voyage album was one of my all-time favorites while I was in high school. Throughout your musical life, certain albums and songs stick with you and naturally come out in your work."

Bringing Reid's musical excursion to a close is Legend, a tune that starts off dancing lightly but progresses to an intensely powerful finish.

"Legend is the most featured vocal tune on the CD," Reid said. "The sound on Legend came off well. As in all my other tunes, I wrote out for Jeff Taylor all the syllables for him to sing. The idea was to have the voice as the dominant component in this tune but have it as a more Latin-type groove where it's evident on the solo section. There's some of that also going on throughout the tune. There's a very melodic and catchy phrase that comes and goes throughout the piece."

Reid, who also plays keyboards and assumes some of the vocal duties, is accompanied on his musical journey by a stellar and renown crew including Pat Metheny drummer Antonio Sanchez, bassist Reuben Rogers, pianist Aaron Goldberg, guitarist Richard Padron, vocalist Jeff Taylor and percussionist Ryan Fitch.

"I've played with these guys before and they are friends of mine and they were happy to do the album with me, "Reid said of his support crew. "And I'm happy they wanted to do it. They are all fantastic musicians."

While Findings take listeners on a magical mystery tour, it has also permitted Reid to delve more deeply into self-discovery about himself musically.

"It has come about on many levels," Reid said. "The first was when I discovered my own musical style. Miles (Davis) once said, 'It takes a long time to play like yourself.' In the same sense it takes a long time to compose like yourself. I'm not quite there yet, but I feel like I'm getting there and that I'm on to something pretty cool. Playing wise also takes a long time. It's about finding your own voice. It's beginning to happen for me. I'm developing into a melodic player."

Born in Westfield, NJ, on October 7, 1980, Reid grew up in a musical household where his parents listened to all kinds of music, especially the music of Miles Davis, John Coltrane, and Stan Getz. While in second grade, his elementary school encouraged its students to be part of the school band. When asked what instrument he wanted to play, Reid said he chose the alto saxophone because his uncle played the instrument while in college.

Reid's parents enthusiastically supported their son's musical penchant. They provided him with private music lessons and took him to nearby New York City to see jazz greats such as Joe Henderson, Sonny Rollins, and Phil Woods. 

Gifted with a musical ear at so young an age, Reid soon began transcribing and studying the jazz language at an accelerated rate. By his ninth grade year in school, he was attending local jam sessions. Later, in high school, he went into New York once in a while to play jam sessions there. 

"I got my ass kicked real young, and it just helped get me into shape," Reid recalled with a laugh.

At age 15, Reid was mentored by alto saxophonist Andy Fusco, a stalwart from drummer Buddy Rich's band.

Reid began composing during his high school years, showcasing some of his original work with school ensembles.

At the age of 17, Reid landed a full scholarship to Indiana University, attending there from 1998 to 2002. While at IU, he studied closely under jazz educators David Baker and Tom Walsh. Reid soon became a strong presence on the local music scene. During his freshman year, he started his own band, playing at various Indiana venues.  By the time he graduated from college, Reid was one of the most sought after saxophone players in the state of Indiana and was often found playing in Midwest jazz clubs.

Benny Reid, third from left,  occupying the second alto saxophone chair in the Tommy	Benny Reid, above, during a break in the
Dorsey Orchestra conducted by Buddy Morrow, far left, during a performance on	Tommy Dorsey Orchestra on June 8, 2000, at
June 8, 2000, at the Jackson Rancheria in Jackson, CA.	the Jackson Rancheria in Jackson, CA.
- Photo by Stephen Fratallone/Jazz Connection Magazine	- Stephen Fratallone/Jazz Connection Magazine