Reviews of Woody Witt's Recordings

Live at Cezanne's

“...an artist quickly developing a reputation as an up-and-coming blistering modern tenor player in the tradition of Michael Brecker and Chris Potter. Witt's warm tone and strong upper register have become trademarks in a style that can vary from rooted hard-bop to nuanced free playing.”
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— Andrew Lienhard, Jazz Houston February 2007

“It is evident that Witt's formidable technique -- which ranges from energetic and inspired solos that pour forth effortlessly, to breath-full coloring in ballad playing -- is a conduit for something even deeper.”
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— Michele Brangwen, Arts Houston April 2007

“...a coherent 9-track suite where one composition flows seamlessly into the next, including short interludes of spontaneous improvisation. Planned or not in advance, this strategy furthers the listener's sense of a live date.”
“Outside the big clubs and the big labels, it's even more reassuring to know that there are musicians like [Woody Witt] who, on any given day, blow with as much intensity and creativity as [their] more touted counterparts.”
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— Andrea Canter, Jazz Police October 2007

Live At Cezanne is also listed as one of Andrea Canter's top 10 recordings of 2007. Read the entire review


		Jazz Improv NY Magazine An Interview with Woody Witt is featured in their March 2008 Issue. See the magazine

		Live at Cezanne's “...an artist quickly developing a reputation as an up-and-coming blistering modern tenor player in the tradition of Michael Brecker and Chris Potter. Witt's warm tone and strong upper register have become trademarks in a style that can vary from rooted hard-bop to nuanced free playing.” Read the entire review — Andrew Lienhard, Jazz Houston February 2007 “It is evident that Witt's formidable technique -- which ranges from energetic and inspired solos that pour forth effortlessly, to breath-full coloring in ballad playing -- is a conduit for something even deeper.” Read the entire review — Michele Brangwen, Arts Houston April 2007 “...a coherent 9-track suite where one composition flows seamlessly into the next, including short interludes of spontaneous improvisation. Planned or not in advance, this strategy furthers the listener's sense of a live date.” “Outside the big clubs and the big labels, it's even more reassuring to know that there are musicians like [Woody Witt] who, on any given day, blow with as much intensity and creativity as [their] more touted counterparts.” Read the entire review — Andrea Canter, Jazz Police October 2007 Live At Cezanne is also listed as one of Andrea Canter's top 10 recordings of 2007. Read the entire review

		Square Peg Round Hole “Mr. Witt writes engaging charts for the band (all but one are his) and his tenor can scorch with a fire that hearkens to Joe Henderson at his best – and can remind one at times of Lovano, Bergonzi, Weiskopf and some shades of middle-period Trane, which is all to say that he is at the top of his game.” Read the entire review — Grego Applegate Edwards, Cadence May 2006 “In the fine, straightahead Square Peg, Round Hole, Houston-based saxophonist Woody Witt demonstrates a virtuosic, well-rounded tenor conception that embraces not only the familiar Michael Brecker-like approach to the Coltrane heritage but also the bluesy soulful ness of the great Texas tenor stylists.” Read the entire review — JazzTimes February 2006 “Recorded in just five hours, from a compositional standpoint, Square Peg's most apparent influence is Kenny Wheeler, whose work Witt has been studying. ‘His writing just sounds open to me,’ he said. ‘His melodies have interesting intervallic shapes, wide skips and are romantic in the European classical tradition.’” Read the entire review — Paul MacArthur, Downbeat April 2006 “His musical expression is an example of why the tenor is perhaps the best member of the saxophone family as a lead or solo instrument. The baritone, alto, and soprano have their moments, but they don't hold a candle to the tenor for its emotional range.” Read the entire review — Woodrow Wilkins Jr., All About Jazz “The title of Houston-based saxophonist Woody Witt’s new recording, Square Peg/Round Hole (Apria, 2005) implies things won’t fit together! But to the contrary, Witt has assembled one of the most sympathetic collaborations I’ve heard in a long time, one that suggests the best small ensembles of the Coltrane/Davis/Blakey eras.” Read the entire review — Andrea Canter, JazzPolice.com “Eight out of the nine tracks were written by Witt and this album not only displays his saxophone bravura, but his compositional chops as well.” Read the entire review — Nathan Holaway, JazzReview.com “Square Peg Round Hole the latest release by Houston’s own Woody Witt is smart jazz at its finest.” Read the entire review — Laurie Quoyeser “Woody Witt continues the tradition of great 'Texas Tenors' with a big fat sound, fresh ideas and a decidedly modern and original approach to improvisation and composition. A perfect combination of building on the past and searching for the future.” — Randy Brecker, Grammy award winning trumpeter/composer “(This new recording) may well be one of the year's best jazz albums...refreshing, often mesmerizing compositions...firmly establishes his mastery of the ballad.” Read the entire review — Andrew Lienhard, editor, jazzhouston.com “Much More to Say begins as a sultry tune that expresses well Witt's desire to use his saxophone as a voice. ‘I sing. That's how I view it. I sing through the instrument,’ he says.” Read the entire article — Sara Cress, Houston Chronicle, August 31, 2005
		Woody Witt “...a confident storyteller of depth and distinction.” Read liner notes — Miles Willis, "Milestones" on 90.5 KPFT “It is all soul and emotion, and his solos ring out with authority.” Read the entire review — Frank Rubolino, Cadence April 2003 “...maintaining the purity of the sax sound...complete mastery over the big horn.” Read the entire review — David Nathan, AllAboutJazz.com “Top line contemporary jazz by Woody and his friends, covering all the bases and done with passion and grace.” — David Liebman, saxophonist with Miles Davis, Elvin Jones and others “...his tenor sound is quite firmly in the hear and now...” Read the entire review — Kelly Dean, jazzhouston.com The Jazz Zine says “this CD was a joy to listen to.” Read the entire review “Wonderful CD: great big sound with much depth, nice tunes, swingin’, everyone is killin’, hope to hear more from you!” — Randy Brecker “This debut CD from Woody Witt is marked by a highly interactive and tightly knit quartet, a great choice of material (mostly by Woody Witt and Joe LoCascio). Throughout the CD, Woody shows a rare control of the upper register and a warm, fat tone belying his classical training and deep jazz roots. The quartet members all shine individually: Joe LoCascio’s great tunes, probing solos and incisive comping, David Craig's solid yet stimulating bass lines and Tim Solook's melodic and always swinging drums. A wonderful CD which grows with each hearing.” — Jeff Gardner