A consistent figure in contemporary instrument.al music, tenor saxophonist and composer Michael Pedicin has always maintained his devotion and commitment to his roots.
Throughout the many years of his incessant drive t.o the pursuit of his original sound, there have been so many that have noticed his accomplishments:
Michael Pedicin Jr. tempered the soft-focus lyricism that the quartet’s saxophone chair has demanded with some discreet John Coltrane devices· and an attractive sense of spacing and drama
Michael Pedicin Jr. seems more dedicated to his art than to radio play
Pedicin stretches on tenor in a Breckeresque fashion
Born into a musical household, Pedicin’s father was already making his mark on the music scene and introduced his son, Michael, to many artists with whom he was involved, e.g. Frank Sinatra, Tony Bennett, etc. But, it wasn’t until he took Michael to the. Harlem Club to listen to tenor saxophonist, Willis “Gator Tail” Jackson that Michael’s devotion began to evolve.
At thirteen, while studying the alto saxophone, Pedicin bought a Cannonball Adderly record and was absorbed by what it “said” to him. As he began seeing and listening to others, like Miles Davis, Sonny Rollins, and Clifford Brown, he began to think about switching to the tenor saxophone. Then, he heard John Coltrane!
Pedicin was so taken by Coltrane’s genius and spiritual sound that he switched to the tenor and began to study with Philadelphia tenor-great Buddy Savitt and jazz educator extraordinaire, Denis Sandole (with whom Coltrane had also studied). His music studies eventually propelled him to graduate from the University of the Arts-ultimately leading to the completion of a Ph.D.
Pedicin has recorded and performed with many jazz and pop giants through the last three decades, including Maynard Ferguson, Dave Brubeck, Peter Erskine, Stanley Clarke, David Bowie, Stevie Wonder, Frank Sinatra, The Funk Brothers, Gino Vanelli, and Pat Martino.
Michael’s debut album, Michael Pedicin Jr., was cut for PIA/CBS Records in 1980, followed by City Song, Angles [1989), You Don’t Know What Love Is , Because of Love and Ridici[2002).
At the age of twenty-one, Downbeat Magazine quoted,
The most exciting solo in the entire three-day festival was produced by Mike Pedicin, Jr.
When you hear Pedicin’s current playing, you will realize that what he played at twenty-one has now been realized and ripened to a sound that is familiar, challenging, innovative, and full of the history of the great jazz tenor saxophonists ………without compromise or imitation.
Michael Pedicin – has anyone heard of Michael Pedicin? With his head shaved, he resembled Lex Luthor, making it hard to judge his age, but I would guess he was around 50. In any case he played like a veteran, with a full and gutsy tenor sound; this is a man with lung power. And he was just wailing-soloing after Pat Martino in full flight didn’t phase him, and the crowd was eager to hear him when his tum came, so passionate and intense was he. And not only that, he was devoid of cliche and mannerism, an authentic player of his own shit.
Highest praise to this guy. I’m amazed I’ve never heard of him. Maybe he’s a Philadelphia home-town hero? Look out for him, anyway.