I am primarily a jazz composer. A wide range of influences are found in my music including tango, blues, samba, fusion, ragtime, new music, and back to American roots music.
My exploration of the jazz family tree does not stop at New Orleans. I've gone further back to old fiddle styles -- especially, Appalachian -- as an early branch in the evolution of the music. For me, looking back to roots music and looking ahead to new music are equally creative.
I am also deeply attracted to tango nuevo. My tangos are written in a personal style and are not intended to be like conventional ballroom tango music.
I have a large number of original tunes and extended pieces written in a lead sheet format. They can be easily adapted for solo instruments and small groups. I especially like to write for mid-size jazz ensemble, tango-jazz band, woodwind quintet, and other kinds of ensembles as I feel inspired.
Jazz Composition, Berklee College of Music 1968.
BA Composition, McKendree University 1973.
MA Composition, New Mexico Highlands University 1974.
Jazz and classical composition teachers include Herb Pomeroy, Charlie Mariano, William Maloof, John Bavicchi, Dr. Robert Wykes, Dr. Stephanie Owen, and Dr. Champ Tyrone.
Listed in International Who's Who in Music.
A selection of my music is licensed for use in TV, film, theater, etc through PARMA Licensing.
Visit my website: http://www.rogeraldridge.com/
Born in 1946 in Kansas City, MO, Roger Aldridge discovered jazz at an early age thanks to his mother’s collection of big band recordings. Roger started on alto saxophone when he was 9 and developed an interest in composition in his early teens. This led him to study composition & arranging at Berklee College of Music in Boston, MA.
At Berklee, Roger studied jazz composition with Herb Pomeroy and Charlie Mariano, classical composition with William Maloof and John Bavicchi, and woodwinds with Joe Viola. Afterwards, he studied composition with Dr. Robert Wykes, Dr. Stephanie Owen, and Dr. Champ Tyrone. Roger received a B.A. degree in composition from McKendree University and a M.A. degree in composition from New Mexico Highlands University. As a graduate assistant at Highlands, Roger directed the university's jazz ensemble.
After working as a composer-arranger, music director, professional musician, and educator, Roger found that he needed to have a different way to support his family. He made a career change to become an analyst and worked at Southwestern Bell, Bell Atlantic, Fannie Mae, and DecisionPath Consulting for what became a 34-year career. Due to a busy work and family schedule, Roger was away from music for 12 years.
A business transfer from Missouri to Maryland in 1983 became an important development in Roger's music. When he started to compose again in 1989 much of the new music was directly inspired by his life in Maryland and places that have a special meaning – in particular, the Appalachian Mountains and Chesapeake Bay. During this time he began to explore an interest in fiddle music after hearing old-time fiddle players in West Virginia. It was easy for Roger to envision Appalachian fiddle music as an early branch of the jazz family tree.
As Roger's concepts continued to evolve, jazz and roots music along with tango, blues, contemporary classical, and other kinds of music became intertwined in unusual ways in his writing. A variety of styles and forms emerged along with expanded harmonic color, a quirky humor in much of his work, and a fluid, musically expressive approach to time. It was increasingly difficult for one to define Roger's music by genre.
For the next 22 years Roger composed as he was able between his work and family lives. Over 600 pieces were written during that period in a broad range of styles. Roger retired from systems work in 2011 or as he prefers to say, "I made a career change back to music”. Now, he has more time for music projects.
While Roger has been composing for many years, he did not have a good way for others to hear his music for much of that time. He prefers to focus on composition and have other musicians perform it. In 2010 Roger began to use various internet resources as a way for more people to hear and discover his work. Positive responses have been gratifying. Roger’s music now has friends in many countries around the world.
Music for mid-size jazz ensemble. Instead of thinking of a mid-size ensemble as a smaller version of a big band, a woodwind quintet -- with each instrument having a distinct tone color -- is envisioned as a role model. The scores use flexible instrumentation to enable the music to be performed by many configurations of instruments. Stylistically, the music covers a wide range from American roots music to avant-garde.
Donut Music (solo guitar). Commissioned by Keith Calmes. The composition was inspired by a line in a story written by his granddaughter Eillonwy (then 8 years old): “Sitting in a dark room, eating a chocolate donut". The music represents a stream of memories, images, and thoughts as one’s life is contemplated over a donut. Written in 9 movements (or bites), the composition draws upon various roots-based musical styles including blues, Appalachian, tango, jazz, and samba.
Music for tango-jazz band. Each piece in this series expresses a particular quality of the tango including movement, mystery, attraction, longing, audaciousness, coalesce, and passion.
Buzzards in Love (wind ensemble). This composition turns the sound of a wind ensemble or concert band into that of a contemporary jazz orchestra. The music tells the story of an imaginary pair of buzzards. Section titles in the score include: buzzard search for life’s meaning, buzzard attraction, buzzard tango, buzzard dating, roadkill interlude (open improvisation section), and buzzard love in the sky. This piece has a spirit of fun and adventure.
Original tunes and extended pieces. Lead sheets for solo instruments and small groups.
Listen to Roger's music
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