User:LDeVose2

Leon has been playing or performing on some instrument since he was tall enough to reach the top of his father's congas. He has been playing saxophone since age 13, and writing since 2002.

Many consider his mastery of the congas to be unexcelled. Every part of the drum is played, and he is unafraid to hit it "right there" with "this" to see how the sound fits into his performance. However, as an artist he is constantly monitoring his own performance, seeking to ensure that anything he is doing is appropriate for the setting, arrangement and piece, and to anticipate what he should (or should not) do next to underscore the message of the piece. Some call his percussion work "tasty". Leon: "I seek to enhance, not consume the music... I want to decorate, not dominate."

A London critic once defined his sax work as haunting. Others have described it as spectacular, phenomenal, melodic, sweet, passionate, lyrical. For nearly 40 years, Leon has made the saxophone, primarily the alto saxophone, his voice. He lists among his influences on sax the late Dr. Bill Phipps, the late Howard (Duke) Anderson, Rahsaan Roland Kirk, Kenny Garrett, John Coltrane and Charlie Parker. Depending on the song, his audience has noted each of these influences. However, his approach is deliberately unique. Leon: "As I was going through high school... this was during the 70's... other guys (and gals) would hear a song and memorize the sax solo verbatim. I have never been a proponent of this.  My thought has always been, with exception of classic breaks like Phil Woods' work on "Just the Way You Are" (Billy Joel), and maybe those on "Pick up the Pieces" (Average White Band), and the live version of "Reasons" (Don Myrick, Earth Wind & Fire) that people like this song written or arranged by this great one, but they want to hear what I have to say - otherwise they can just buy the CD." Leon also notes that he is always seeking unique phrases and not cliches - even his own cliches. One can hear this when one song, one arrangement, can have a completely different effect from one performance to the next because of a different approach or focus on a different facet in the song. Leon: "Duke Anderson told me that every performance by Parker was different. I have since learned from my academic studies that the truth is more complex.  He did have his signature riffs, but he was always looking for more."

Leon's original compositions have been well received by musicians and listeners alike. They describe his music as a unique combination of all of his influences. In his compositions, he likes space. His melodies are usually multi-phrasic. His rhythms are sometimes complex, sometimes simple, but always compelling. His harmonies are colorful, subtle and fluid. Oh yes, he avoids "standard" (e.g., walking) bass lines. As a child of the 60's and 70's, he considers the bass as another voice often with its own counter-melody, sometimes supporting, sometimes responding to, sometimes affirming, sometimes challenging the main melody.

At the time of this writing, Leon is working to self-produce his first CD project, an instrumental entitled "Honors & Dedications". Having heard some of the songs that will be included, some believe Leon should be prepared for a major life change. He also continues to compose, sometimes composing multitple compositions in a single day.

Leon expects to complete his graduate coursework at Rutgers University, Newark Campus, in 2015. Enrolled in the Jazz History and Research program, he enjoys the invaluable guidance of Dr. Henry Martin, Dr. Lewis Porter, and others.

Leon is available for performances and recordings needing sax, percussion, composing or arranging. He extends this offer to educational institutions. He performs solo with recordings he has produced of his originals and arrangements of standards. He also has a small contingent of side-artists for engagements where an ensemble is preferred.

He hopes to hear from you soon!

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