[et_pb_section fb_built=”1″ next_background_color=”#fafafa” admin_label=”Header” _builder_version=”4.9.3″ background_image=”https:\/\/michaelpedicin.com\/n\/wp-content\/uploads\/2022\/09\/MichaelPedicin-hp5-bw3-scaled.jpg” bottom_divider_style=”wave” bottom_divider_height=”10vw” bottom_divider_flip=”horizontal”][et_pb_row _builder_version=”4.9.3″ background_enable_image=”off” background_size=”contain” min_height=”350px”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding_tablet=”0px|||” custom_padding_last_edited=”off|desktop” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.9.3″ text_font=”||||||||” ul_font=”||||||||” ol_font=”||||||||” header_font=”Montserrat|500||on|||||” header_font_size=”18px” header_letter_spacing=”5px” header_line_height=”1.5em” header_2_font=”Merriweather|700|||||||” header_2_font_size=”60px” header_2_line_height=”1.4em” header_3_font=”||||||||” header_4_font=”||||||||” header_5_font=”||||||||” header_6_font=”||||||||” header_font_size_tablet=”” header_font_size_phone=”12px” header_font_size_last_edited=”on|desktop” header_2_font_size_tablet=”50px” header_2_font_size_phone=”30px” header_2_font_size_last_edited=”on|desktop”][\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Bio” _builder_version=”4.9.3″ background_color=”#fafafa” hover_enabled=”0″ sticky_enabled=”0″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”3.25″][et_pb_column type=”2_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”reviews” _builder_version=”4.9.3″ _module_preset=”default” header_font=”Merriweather||||||||” header_text_align=”center” header_2_font=”Merriweather||||||||”]<\/p>\n
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A consistent figure in contemporary instrument.al music, tenor saxophonist and\u00a0composer Michael Pedicin has always maintained his devotion and commitment to his\u00a0roots.<\/p>\n
Throughout the many years of his incessant drive t.o the pursuit of his original sound,\u00a0there have been so many that have noticed his accomplishments:<\/p>\n
[\/et_pb_text][et_pb_testimonial author=”The New York Times” admin_label=”NYT” _builder_version=”4.9.3″ _module_preset=”default”]<\/p>\n
Michael Pedicin Jr. tempered the soft-focus lyricism that the quartet’s saxophone\u00a0chair has demanded with some discreet John Coltrane devices\u00b7 and an attractive\u00a0sense of spacing and drama<\/p>\n
[\/et_pb_testimonial][et_pb_testimonial author=”Downbeat Magazine” admin_label=”downbeat 1″ _builder_version=”4.9.3″ _module_preset=”default”]<\/p>\n
Michael Pedicin Jr. seems more dedicated to his art than to radio play<\/p>\n
[\/et_pb_testimonial][et_pb_testimonial author=”Downbeat Magazine” admin_label=”downbeat 2″ _builder_version=”4.9.3″ _module_preset=”default”]<\/p>\n
Pedicin stretches on tenor in a Breckeresque fashion<\/p>\n
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Born into a musical household, Pedicin’s father was already making his mark on the\u00a0music scene and introduced his son, Michael, to many artists with whom he was\u00a0involved, 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\u00a0devotion began to evolve.<\/p>\n
At thirteen, while studying the alto saxophone, Pedicin bought a Cannonball Adderly\u00a0record and was absorbed by what it “said” to him. As he began seeing and listening to\u00a0others, like Miles Davis, Sonny Rollins, and Clifford Brown, he began to think about\u00a0switching to the tenor saxophone. Then, he heard John Coltrane!\u00a0<\/p>\n
Pedicin was so taken by Coltrane’s genius and spiritual sound that he switched to the\u00a0tenor and began to study with Philadelphia tenor-great Buddy Savitt and jazz educator\u00a0extraordinaire, Denis Sandole (with whom Coltrane had also studied). His music\u00a0studies eventually propelled him to graduate from the University of the Arts-ultimately\u00a0leading to the completion of a Ph.D.<\/p>\n
Pedicin has recorded and performed with many jazz and pop giants through the last\u00a0three decades, including Maynard Ferguson, Dave Brubeck, Peter Erskine, Stanley\u00a0Clarke, David Bowie, Stevie Wonder, Frank Sinatra, The Funk Brothers, Gino Vanelli,\u00a0and Pat Martino.<\/p>\n
Michael’s debut album, Michael Pedicin Jr., was cut for PIA\/CBS Records in 1980,\u00a0followed by City Song[1987], Angles [1989), You Don’t Know What Love Is [1992],\u00a0Because of Love[1996] and Ridici[2002).<\/p>\n
[\/et_pb_text][et_pb_testimonial author=”Downbeat Magazine” admin_label=”downbeat age 21″ _builder_version=”4.9.3″ _module_preset=”default”]<\/p>\n
At the age of twenty-one, Downbeat Magazine quoted,<\/p>\n
The most exciting solo in the entire three-day festival was produced by Mike Pedicin,\u00a0Jr.<\/p>\n
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When you hear Pedicin’s current playing, you will realize that what he played at twenty-one\u00a0has now been realized and ripened to a sound that is familiar, challenging,\u00a0innovative, and full of the history of the great jazz tenor saxophonists ………without\u00a0compromise or imitation.<\/p>\n
[\/et_pb_text][et_pb_testimonial company_name=”Jazz Corner” admin_label=”jazz corner” _builder_version=”4.9.3″ _module_preset=”default”]<\/p>\n
Michael Pedicin – has anyone heard of Michael Pedicin? With his head\u00a0shaved, he resembled Lex Luthor, making it hard to judge his age,\u00a0but I would guess he was around 50. In any case he played like a\u00a0veteran, with a full and gutsy tenor sound; this is a man with lung\u00a0power. And he was just wailing-soloing after Pat Martino in full flight\u00a0didn’t phase him, and the crowd was eager to hear him when his tum\u00a0came, so passionate and intense was he. And not only that, he was\u00a0devoid of cliche and mannerism, an authentic player of his own shit.<\/p>\n
Highest praise to this guy. I’m amazed I’ve never heard of him.\u00a0Maybe he’s a Philadelphia home-town hero? Look out for him,\u00a0anyway.<\/p>\n
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