Greg Abate (saxophonist / flutist / composer / arranger)
When you think of the saxophone, think of Greg Abate. Greg is widely considered among jazz writers and aficionados to be one of the “best post hard bop alto players” of today.
In the early 70s, Greg played 2 years lead alto with the Ray Charles Orchestra. For another two years in the mid 80s, he held the jazz tenor chair in the revived Artie Shaw Orchestra under the direction of Dick Johnson. Now, Greg is doing his thing performing throughout the United States, in Canada and Europe. His music receives playtime on radio all over the country.
As an accomplished composer and arranger, Abate has a very creative notion of where jazz ought to be.
He is a jazz educator as adjunct Instructor of Jazz at Rhode Island College in Providence, where he teaches jazz improvisation, jazz theory, and coaches jazz combos. He is a Conn-Selmer Instrument clinician conducting clinics and workshops internationally, working with students from middle schools to colleges.
Having attended the prestigious Berklee College of Music (Boston, Massachusetts) in ’71, Greg is listed among the school’s prominent alumni. He has 12 albums as a leader to his credit; all critically acclaimed.
Greg is a very emotional player. He plays lyrical and swings hard. In 2005 Greg was on the Grammy nomination ballot in four categories for his CD Evolution featuring James Willaims , Harvie S and Billy Hart.
Abate plays freewheeling and structured, sweet and throaty, bright and blue – with passion.
Peter DeVeber
"Greg Abate is one of the most appealing saxophonists on the scene today. He is mature with an abundance of gentle self-confidence. The result is that he plays music with sweetness and daring."
— Jim Merod, New Jazz Recordings
"Greg Abate plays for keeps. Having played with him in the Ray Charles Orchestra, I had the pleasure of hearing Greg night after night. He is a musical delight."
— Tony Horowitz, former lead trumpet with Ray Charles
"Multi-saxophonist Greg Abate is a prime example of the ‘rear back and blow’ school of contemporary bop-based players. The tunes he writes or chooses are based on the kinds of changes that harmony-oriented jazz-men have favored since the beginning and he swings through them with an eager and easy virtuosity."
— David Franklin, Jazz Times 
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