The artistic scope of renowned saxophonist, composer, painter, and poet Oliver Lake’s half-century-long career is unparalleled. An extensive resume of his collaborations includes work with the Brooklyn Philharmonic, Flux String Quartet, Bjork, Lou Reed, A Tribe Called Quest, Mos Def, Me’shell Ndegeocello, Anthony Braxton, James Blood Ulmer, William Parker, Vijay Iyer, Reggie Workman, Andrew Cyrille and a veritable who’s who of the jazz vanguard. Oliver’s efforts extend far beyond the music, with his creation of the non-profit Passin’ Thru organization, becoming a mainstay at Pittsburgh’s City of Asylum, publishing two books of poetry and frequently producing visual artwork for exhibitions across the country.

Lake’s breadth of disciplines can be traced back to his formative years with the Black Artists Group, the innovative St. Louis collective of musicians, poets, dancers and painters he helped architect over 35 years ago. As a co-founder of the internationally acclaimed World Saxophone Quartet (with fellow luminaries David Murray, Julius Hemphill and Hamiet Bluiett), Oliver firmly established himself in the “Loft” jazz scene of the 1970’s in New York City, and has since produced a body of work that is both expansive and versatile enough to avoid falling solely into the trappings of the “avant-garde” and “free” labels. The fact that his work can stand on compositional merit alone, all while he has etched a place for himself as one of the elite saxophone players and improvisers of recent times, is a testament to Oliver Lake’s stature as an artist.

Lake’s output as an exacting and unequivocally original composer has long been celebrated, highlighted by commissions awarded from the Library of Congress, the Rockefeller Foundation ASCAP, the International Association for Jazz Education, Composers Forum and the McKim Foundation. He has been the recipient of the Guggenheim Fellowship and was also presented with the Mellon Jazz Living Legacy Award at the Kennedy Center in 2006.

In 2014, Oliver was honored with what is arguably the greatest recognition of his artistry and vision to date, becoming one of only nineteen grantees appointed for the prestigious Doris Duke Artist Award, a multi-year grant awarded to American artists in the fields of jazz, theater and dance. 

A trailblazer through and through, Oliver Lake continues to produce in the vociferous, uncompromising way he only knows how to, currently immersed in the work of such adventurous ensembles as the Oliver Lake Organ Quartet, Oliver Lake Big Band and Trio 3.

For more informations, visit oliverlake.net & facebook.com/oliverlakejazz


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Toussaint Thompson
Hammond Organist/Composer/Arranger/Vocalist

What makes a music legend?  Experience Toussaint Thompson and you will know.  Toussaint, a keyboardist, specializing on the Hammond B-3 organ, who is also a composer, arranger, and vocalist, weaves stories through his musical repertoire: jazz, the blues, gospel, R&B, country.  Toussaint’s music strikes a chord as he invites audiences to interpret the meaning of his musical voice, in their own way.  What results is a uniquely compelling emotional experience.  Indeed this Coconut Grove, Florida resident is in the right groove and on the right home turf, one that has been a haven of inspiration for a string of musicians: Jose Feliciano, Joni Mitchell, Fred Neil, David Crosby, and Jimmy Buffet, to name some.

Toussaint’s earliest influencers were in his Richmond, Virginia family home where a variety of music forms, including hymns, classical music, country, and R&B were present.  His father, a pastor of several churches, as well as his mother, who encouraged his father to support the purchase of Toussaint’s first B-3, embraced his musical gifts.    “I excelled at anything musical: at church, where I began directing the choir at age 12, and school.  I did club gigs when too young to be a patron,” Toussaint says.

He continued to hone his craft during college days at FAMU [Florida Agricultural and Mechanical University], where he studied marketing and music [concert piano]. Several well-known acts eyed Toussaint, including popular singing group, the Chi-Lites, who offered him a job.  However, he chose to continue his academic studies.  He also auditioned with vocalist, guitarist, and songwriter, Bill Withers. Melvin “Wah Wah” Ragin, then with the Montclairs, and a friend from his Richmond days, recommended Toussaint to Bill. Though he did not make the cut, there are no regrets.  “The experience motivated me to write more music,” he shares. 

That music included his composition, “90 Degrees,” co-written with Bobby Thomas, Jr., former percussionist with the Weather Report.   The piece featured Melton Mustafa [former college classmate] on solo trumpet; Melton performed with the Count Basie and Duke Ellington bands.  Toussaint had a one record deal, “Fever,” picked up by Chris 
Toussaint Thompson’s Bio, Page 2


Blackwell, founder and owner of Island Records.  Both compositions showed tremendous style diversity.  His rendition of Kenny Dorham’s “Blue Bossa,” first popularized by Joe Henderson, and vocals on Elton John’s “Your Song,” like all pieces Toussaint performs, start with a feeling where he imagines, brainstorms, experiments, and creates his signatures. Yet he also credits other Hammond players, notably Jimmy Smith, Jimmy McGriff, and Billy Preston for style elements that he likes. 

As a master of the instrument that Jimmy Smith created a new role for in jazz, Toussaint is blazing his own trail with a growing tour schedule that extends to summer stays and bookings in Oregon.  The remainder of the year, he holds his Sunday Morning Jam sessions, performs in, and around, Miami, arranges older compositions, giving them a new and inviting sound, and has even scored original music for a documentary.  He also teaches special education in a Miami High School, using musical techniques to motivate his students to learn.  “I wouldn’t say I had the same challenges as my students when in high school, however, I wasn’t always ready to learn in the traditional manner. I meet my students where they are and use music as a catalyst.  Whether English, Math, or other subject areas, music can be integrated,” Toussaint offers.

His refusal to be stuck in one pattern is what makes Toussaint an effective teacher and a great musician.  From jazz to gospel and the blues to R&B, and country, his arrangements show range, and more.  They also demonstrate what happens when other musical sounds blend with that of the Hammond organ: an organic vibe that is unique to the B-3.


Patricia Green










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