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Azar Lawrence

Azar Lawrence led a very musical childhood and began playing drums at the age of five and moved onto violin and piano under the direction of his mother Ima Lawrence. Ima, a gifted musician and teacher from whom Azar received his acute flair for all things music has shaped many successful musicians.

Azar began playing with the USC JR Orchestra at the age of five. He played violin until the age of 8. He performed vocals accompanied by his mother during elementary school where she taught sixth grade and music

At age eleven he began hearing a different musical voice. He was an accomplished pianist, violinist and vocalist in his own right at the time.

He thought it was time to learn viola. But something happened. Lonnie a long time friend of Mr. Lawrence, and of the family, who often brought his flute when he visited, came by for a swim, and brought his alto sax. Azar was not poolside but he had to see who was playing that cool sound. His father his biggest supporter and fan who had bought all of Azar’s instruments purchased him an alto sax, and Azar began taking instruction from Mr. Schumaker once a week. In high school Azar played with the Dorsey High Jazz Band, and played a jazz workshop with Herbert Baker, “one of the greatest pianist that ever lived and I feel blessed to have been in his presence.”

Azar played everyday with Herbert Baker until a tragic car accident took his teacher and mentor’s life, Azar’s senior year in high school. “That event made me reach deeper and I knew I had to carry on what I had learned.”

Drummer, Reggie Golson, introduced Azar to “the music”, and that’s when he began to get into the creation. Nightly he went to Reggie’s house. Reggie had a room full of records, and he would play them all, over time. Coltrane, Miles, Monk, Shorter. “Reggie prepared me. “

After high school at the age of 19, Azar played with Candy Finch, Larry Gales, and Woody Shaw at a regular gig at a club on 54th St. in Los Angeles.

Soon he would perform with Ike & Tina Turner, Watts 103rd St. band, and War. He then joined Elvin Jones for two years and after leaving Elvin, he joined McCoy Tyner’s group for five years and then back to Elvin for a year, and in the meantime recorded with Roberta Flack.

“Miles Davis used to come and hear me when I played with McCoy Tyner in New York, as well as when I was with Elvin.”

Miles approached Azar about joining his group, and he wasn’t ready to commit cause he wasn’t “feeling it.”

Azar’s first performance with Miles was in DC and then they performed in New York at Carnegie Hall where Dark Magus was recorded.

Azar Lawrence’s history has been impressive since the age of five, throughout his musical sojourn he’s played sax alongside names like Woody Shaw, Horace Tapscott, Ron Carter, McCoy Tyner, Elvin Jones, Henry Butler and Buddy Collette.

Azar has been a force since he graduated from high school, releasing three albums of his own before the age of twenty-five, Bridge Into the New Age, People Moving People, and Summer Solstice.

During the eighties he wrote and performed for Earth Wind & Fire, on one of their highly acclaimed releases Powerlight. He collaborated with Earth Wind & Fire’s leader Maurice White.

Azar is known to bring jazz to popular music he can be heard on the late Frank Zappa’s music to Busta Rhymes.

There has been much speculation that Azar disappeared off the jazz scene, quite the contrary, although he wasn’t in the limelight, his credits are numerous one being the highly acclaimed, Grammy award winning album, Marvin Gaye’s, Hear My Dear.

“After my biggest supporter passed, it was as if I passed with him.” Azar’s biggest fan and supporter was Azel Lawrence, his father. He would travel to gigs, he went to see Azar in Detroit when he was playing with McCoy and also to the Houston Astrodome.

He needed to feel it like the first time when Lonnie played poolside at the house where he grew up. In the eighties and nineties, Azar began searching for a sound of his own, and began to write songs even more seriously than when preparing for his first three projects while recording for Fantasy records.

He began working with Chuck Jackson who is known in part for his role as producer for all of Natalie Coles hit recordings. They co wrote twenty songs all of which were placed on projects such as Stanley Turentine’s, Coming Home. He formed a band, called Chameleon which recorded for Electra Records. Patrice Banks, Chocolate, of Grande Central Station was a member of that team.

Currently, Azar is in residence at The World Stage, also known as the house of Billy Higgins who he recorded and performed many times with the great until his death. He is a member of The World Stage Pan Afrikan Peoples Arkestra, which was under the direction of the great Horace Tapscott until his death in the late nineties.

Being successful at such a young age has can have draw backs. His musical career was meteoric to say the least. Azar had performed on six continents before the age of 21. "You could say my life was fast and furious I had forgotten what I was taught, by my great teachers, my mother being the first, and she’s still teaching me in her 90’s.”

“Music is your voice, keep it pure and share your gift not for the fame or fortune, but for the creator, as it was given to you by him at no cost. If you should make a living from your gift then that’s just gravy.”

“If hadn’t run out of it, (manna) I would have died.” Playing for his mind, body and soul, and for self Show less

Eric Reed Quartet, Pan African People's Arkestra and Pharoah Sanders / Joey DeFrancesco Tribute Band

by Chuck Koton
August 10, 2023

Eric Reed Quartet Sam FirstLos Angeles, CA June 9, 2023 This spring's weather was unseasonably cool, but the jazz scene has been hot in California! In June, master pianist Eric Reed brought his quartet, including tenor saxophonist Ralph Moore, bassist Mike Gurrola and drummer Reggie Quinerly to Sam First, a cozy jazz club just east of Los Angeles International Airport. The band opened with a composition of Moore's titled “623 C Street," which, according to Mr Reed, ...

Album Review

Bill Ortiz: Points of View

Read "Points of View" reviewed by Nicholas F. Mondello

by Nicholas F. Mondello
July 29, 2023

Long associated with Carlos Santana, with whom he had a 16-year stint, trumpeter Bill Ortiz steps into the spotlight here with an auspicious and highly entertaining session. Ten selections showcase Ortiz who is supported by some of the Bay area's best. The order of the day is energy, excitement, and an overall superb show. “Sunburst," an Eddie Henderson tune, launches things with a pulsing piano, driving bass, textured rhythms and Ortiz wailing, first using a Harmon mute ...

Live Review

The Azar Lawrence Experience at Bach Dancing and Dynamite Society

by Roy Strassman
August 13, 2022

The Azar Lawrence Experience Bach Dancing and Dynamite Society Half Moon Bay, CA July 31, 2022 Azar Lawrence's most recent incarnation of The Azar Lawrence Experience brought its energetic presence to grace Half Moon Bay's Bach Dancing and Dynamite Society on July's final afternoon. The “Experience" featured a unique front line consisting of two horns, a guitar, and a vocalist. Somehow, the group's very presence evoked a feeling of freshness and inspiration. The ...

Profile

Azar Lawrence Has Paid His Dues...Two times

by Chuck Koton
October 6, 2020

Tenor and soprano saxophonist Azar Lawrence has been one of the most dynamic and spiritually-charged reed players of the post-John Coltrane generation. Lawrence forged his sound in the fires of the Elvin Jones and McCoy Tyner bands in the 1970s and, for nearly five decades, he has performed and recorded with the best musicians in the world. Today, Lawrence is at the peak of his horn playing, blowing with as much beauty, power and intensity as anyone on the music ...

The Vinyl Post

Summer Solstice

by C. Andrew Hovan
January 3, 2020

Founded in 1949 by Bob Weinstock, the Prestige label was home to some of the best hard bop, swing, and blues music of the '50s and '60s. The diversity of the catalog through subsidiary labels such as Swingville and Bluesville was nothing short of extraordinary. Be it spoken word albums, Southern blues, or the folk strains from India, Japan, or Ireland-there was something for everyone through this ambitious program. By 1971 when the label was sold to Fantasy ...

Album Review

Azar Lawrence: Elementals

by Chris May
April 18, 2018

Azar Lawrence sounds more like John Coltrane than John Coltrane ever did. Well, almost. Mid-period Coltrane that is, post Atlantic Records and the sheets of sound, when Coltrane starting to record for Impulse with producer Bob Thiele. The closeness of the resemblance is longstanding and uncanny, but it has not been a cynical pose designed to maximise Lawrence's commercial appeal. He was 15 years old when Coltrane passed away in 1967 and by that time the older saxophonist had already ...

Live Review

Shock and Awe: Azar Lawrence Drops "The Seeker" On Dizzy's

by Chuck Koton
October 7, 2014

Azar Lawrence Quintet Dizzy's Club Coca Cola New York, NY June 26-29, 2014 There ain't no denyin' that jazz is best heard “live." Ideally, the band is playing in a club equipped with quality sound and lighting systems, staffed by experienced people who are respectful of the music (especially bartenders who try to avoid running the drink mixers during bass and piano solos) and managed by someone who not only sees to it that ...

Recording

Saxophone Giants Azar Lawrence & Al McLean Kick Off "Conduit"

Source: Randy Cole
January 22, 2015

Cinematographer Randy Cole and saxophonist Al McLean deliver Conduit, an iconic Jazz recording, captured in a former church in jny: Montreal. Cole and McLean invited American saxophonist Azar Lawrence, to the session (McCoy Tyner, Elvin Jones, Miles Davis), and the resulting tracks are mesmerizing. Digitally released on major music download sites (iTunes, Amazon, etc.), Conduit will be officially launched on March 7th in Montreal at Upstairs Jazz Bar & Grill by Azar Lawrence and Al McLean. Together, Lawrence and McLean ...
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Music Industry

Montreal Jazz Community Gives Us "Conduit"

Source: Randy Cole
August 8, 2014

Montreal's storied Jazz community gives us Conduit, a risky live recording set in a former church. American sax legend Azar Lawrence (McCoy Tyner, Elvin Jones, Miles Davis) teams up with Canadian tenor-man Al McLean. The pair is recorded in one take, within a strikingly beautiful museum - La Musée des Maîtres et Artisans du Québec. The master craftsmen fit well in the reclaimed church, surrounded by exquisite artifacts. The chemistry that ensues is magic. Conduit sounds downright iconic, and remains ...
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Interview

Azar Lawrence Interview

Source: underyourskin
July 12, 2011

Performance / Tour

Azar Lawrence, Classical to Jazz - Jazz to Classical

Source: Linda G.
September 9, 2010

In the early 20th Century a young girl named Ima Jeane Smith often went to the movies— Silent Pictures— where the only sound was a live pianist, vamping dramatically in sync to the happenings on the screen. Upon returning home from the pictures, Ima Jeane would sit down to her piano and play the “sound track" by memory. Her parents, Casey and Beulah recognized their daughter's gift and they provided her with formal lessons. Ima excelled in Classical music. She ...
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Recording

Journeyed Tenor Saxophonist Azar Lawrence Set to Release "Mystic Journey," May 4 on Furthermore Recordings

Source: DL Media
April 22, 2010

JOURNEYED TENOR SAXOPHONIST AZAR LAWRENCESET TO RELEASE MYSTIC JOURNEY,MAY 4 ON FURTHERMORE RECORDINGS

ALBUM FEATURES EDDIE HENDERSON, GERALD HAYES, BENITO GONZALEZ, ESSIET ESSIET AND THE LATE RASHIED ALI LAWRENCE'S SEXTET TO PERFORM IN TRIBUTE TO ALI ON MAY 7 AT THE TRIBECA PERFORMING ARTS CENTER The re-emergence of saxophonist Azar Lawrence has been one of the most exciting things and perhaps one of the best-kept secrets of the past five years on the Los Angeles jazz scene. Those ...
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244

Performance / Tour

Azar Lawrence New York Dates: Smoke, Kumble Theatre and Tribeca Performing Arts Center

Source: Zarmedia
March 24, 2010

Playing to audiences small and large over the past three years and back recording regularly, master of the saxophone, Azar Lawrence is establishing himself again in Jazz land. Azar had been advised by longtime friends and mentors to return to New York, where Elvin Jones in 1971 brought him to join his group when Azar was 19. Friends who he played with as a teen and young adult, like McCoy Tyner, (whose band Azar was a member during the 'Enlightenment" ...
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259

Performance / Tour

Music in the Clouds / Azar Lawrence – Blue Skies Smiling at Me - Swinging in the Big Blue Sky

Source: Zarmedia
July 10, 2009

When Irving Berlin composed Blue Skies one has to wonder if Montana was on his mind. Berlin wrote Blue Skies in 1926, it was featured in the first feature-length talkie, The Jazz Singer and became a hit. Montana is known as Big Sky Country because of it's beautiful mountains and healthy terrain, yet topography is not Montana's only attraction. With Montana's rich music and arts scene it can also be called Big Jazz Country. On the heels of the International ...
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209

Festival

Harmony Festival Celebration in Santa Rosa, California

Source: All About Jazz
June 2, 2009

The Harmony Festival is celebrating its 31st anniversary June 12th, 13th and 14th at the Sonoma County Fairgrounds in Santa Rosa, California.

The event was born out of a desire by several Sonoma State students to combine music with an exposition of that eras cutting edge lifestyles. According to founder Debra Giusti, the festival was birthed from the passionate core values of the 60s, like global awareness and personal spiritual awakening.

California has long been noted for the willingness of ...
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229

Performance / Tour

Azar Lawrence - Making a Musical Statement! Tour Announced

Source: Zarmedia
May 5, 2009

There’s a reason jazz legends like McCoy Tyner, Benny Golson and Pharoah Sanders have been asking Azar to sit in with their groups lately. Sure, they are close friends and they’ve played together any number of times. They’ve all watched his reemergence onto the jazz scene in the past few years. But they want Azar to join them on stage because he’s at the top of his game, playing with the kind of heart and spirit that comes only from ...
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280

Music Industry

B.J. Jansen Joins Red Holloway, Donald Harrison, James Carter and Azar Lawrence as an International Woodwind Artist

Source: JM Creative
January 4, 2009

"Jazz needs to retrieve as many Azar Lawrences as possible, mature, tested musicians who have, for whatever reason, receded into the woodwork for way too long. Prayer for My Ancestors is proof of that. Bill Shoemaker, Point of Departure, June 2009

"...he’s still the same physical, gritty, pentatonically inclined tenor and soprano saxophonist. Lawrence made his name with the music he played in the ’70s.......... He should get it back with the music he’s playing today.", Chris Kelsey, JazzTimes, May 2009

"Today, Azar Lawrence burns like a bright, hot flame at the altar of his muse. Given the ever-present fire danger in the Southland, a fire truck should remain on call when Lawrence blows. " ........ "it is a medicinal injection of peace and joy to hear Azar Lawrence burning it up again." Chuck Koton, AllAboutJazz, January 2009

“The rather academic title of this release doesn’t do justice to the power of this celebration of the ecstatic music of John Coltrane. The two front men - Lawrence and Bayard - have both drunk deeply from the fount of Coltrane’s musical wisdom, and the devotees pay tribute to their master in four extended performances.

Each blows with a raw, fervent tone. They chant sequential modal patterns that rise to the upper reaches of their horns. It’s the Jazz equivalent of saying the rosary. The set opens with a ballad reading by one of the two • the notes don’t say whom - of “I Thought About You” that helps set the stage.

The entire group is dedicated to paying tribute not only to Coltrane but the classic quartet. Drummer Mark Lomax II emulates the aggressive, polyrhythmic style of Elvin Jones, whipping up cross- rhythms that tear away from the underlying meter, only to come back to the beat with a smack. William Mennefield is a fine pianist, who clearly knows this music and how Tyner played it, but stays true to his own, erudite style.

Bassist Hulett provides deep, throbbing bass lines that provide a steady footing underneath the drummer’s rambling that keeps this exuberant tribute spinning forward and upward.”

David Dupont, Cadence Magazine, August 2007

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