Saxophonist and Composer Andrew Kreitner Learns the Lyrics

Back in late February during a Todd Marcus Orchestra concert at Eubie Blake Center, I was blown away after the rousing set opener, “Horus.” I immediately turned to my left to share my elation, where saxophonist and composer Andrew Kreitner happened to be sitting – he seemed just as mesmerized. I yelped, “Wow.” In response, the jolly giant of a fellow – appropriately clad in an olive green hoodie– fan-boyed to me, “Yeah dude, that’s my favorite band.” I felt the love and, after exchanging a little more with him before the next tune, I also felt he was someone worth a further listen.

I caught up with Kreitner to learn his story about a month after his March 10th debut at An Die Musik, with Emerson Borg (trumpet), Aleko Lionikis (piano), Knox Barber (bass) and Kevin Kearney, Jr. (drums). And though I did not attend the show in person, I did stream it online. Indeed, the Peabody graduate – who turns 26 in August – is worth lending an ear or two. His playing is lyrical, leaving space between his licks. 

Kreitner is a great conversationalist – professorial yet down-to-earth. He takes beats and ponders deeply while staring into a slight distance, before giving you thorough answers to whatever your thoughts or questions.

 “I went through a period of playing ballads at Peabody,” he said, explaining his lyrical playing style. “Before I learn a tune on sax, I memorize the lyrics, learn the harmony, and sing while I play the tune on piano. It connects you to how you need to be playing it. 

“As a tenor player, our instrument is supposed to be operatic in a way,” Kreitner continued, “like a tenor or baritone opera singer. Listening to some of my favorite vocalists – Nat King Cole, Johnny Hartman (of “Lush Life” fame), Sarah Vaugh – getting very in-the-weeds.” For example, if the lyric is “heart,” when he plays the note corresponding to that word, he will tongue-stop to replicate the ending “T” sound. He also sings his melodies and says it has improved him as a sax player.

Brilliant, just like his showmanship. Kreitner and his band were energizing. Evident from the audience’s responses throughout that night at An die Musik: extended applause,“oh’s” and “ah’s,” and shoutouts filled the space. He said a handful attending were students from his workshop in Govans, which he calls home. He added, to my surprise, that although he has led bands at Peabody, this was his first show as a band leader in a public venue.

While attending Peabody, Kreitner learned something invaluable from a masterclass held by Blue Note recording artist Melissa Aldana. Her pianist said, “Everybody needs to be writing their own music. That’s how you broadcast yourself to the world – it [makes] your playing deeper.”

So, at the start of year, Kreitner made a resolution to “sit at the piano and write every day,” oftentimes before even touching his sax.

“This is my first year out of school,” he said, “so I really wanted to force myself to compose for a new date,” Kreitner concluded. “Composing can take a long time. If you have a date to write towards, it kicks you in gear.”

“He’s a good saxophonist, composer and friend,” said the quintet’s trumpeter Emerson Borg to me via phone. Borg has been associated with Kreitner since they both entered the Graduate Jazz fellowship program two years ago. “I feel he’s very honest and melodic in his playing. We have a lot of similar tastes – he’s the only one I’ve met who is [also] into Tom Harrell.”

The Grammy-award nominee Tom Harrell is Kreitner’s “North Star” when it comes to composing. “[Harrell’s] tunes are kind of subtle, sophisticated vehicles for improvisation,” summarized Kreitner. “Tunes that still have songbook form that are still easy to play over.” 

A native of Alpharetta, Georgia, Kreitner went to Indiana University for his undergraduate program. While there, he was profoundly inspired by his teacher, saxophonist Greg Ward. Kreitner asked Ward how long it took for him to put together the show’s set. Ward, to Kreitner’s astonishment, said he pulled an all-nighter, fueled by the prospect of playing with players whom he “respected and hadn’t gotten to play with in a while.”  

“That was a moment that was a bit compact,” Ward admitted to me over the phone. He added sometimes a tight schedule leaves little time for advance preparation.  “It was a crazy revelation,” Kreitner reflected. “Book a date and figure it out!”

And that, I believe, is what Kreitner did. 

While he doesn’t currently have any upcoming performance dates, you can catch Kreitner with the Javier Nero Orchestra in their monthly residence at An die Musik. Baltimore looks forward to hearing more of Kreitner’s lyrical playing and composing.

–By Therran Dennis

Therran Dennis is a journalist by trade and a jazz guy at heart, a vocalist and guitarist. When he’s not workshopping the next standard or scribbling verses about The Struggle, he’s keeping tabs on what’s happening in the most vibrant jazz scene in the Mid-Atlantic.