The music of Brooklyn-based saxophonist and composer, Loren Stillman, has found acclaimed reviews in such publications as The New York Times, Downbeat Magazine, Jazziz, Jazz Times, and National Public Radio, marking him as an innovative voice of modern jazz.

With his training stemming from Lee Konitz and David Liebman to Harvey Pittel, Stillman has performed, recorded, and educated throughout the United States, Europe, and Japan.

Alongside an impressive record of performances, recordings, and master-classes with his own ensembles, Stillman has performed alongside Charlie Haden, Paul Motian Trio 2000+2, Carla Bley, John Abercrombie, Greg Osby, Ralph Alessi, Andy Milne’s DAPP Theory, Michele Rosewoman Quintessence, Eivind Opsvik, John McNeil, Brad Shepik, Russ Lossing, Vic Juris, and The Vanguard Jazz Orchestra.

An early start to his musical career found Stillman as recipient of two Outstanding Performance Awards (1996 &1998) and the Rising Star Jazz Artist Award (2004) from Down Beat Magazine. Stillman attended Manhattan School of Music (1998) and The New School (2002) on full music scholarship, and was a semifinalist in the 2002 Thelonious Monk Saxophone Competition. In 2005, Stillman received the CMA/ASCAP Award for Adventurous Programming and the ASCAP Young Jazz Composers Award.

Stillman’s original recordings, Winter Fruits (Pirouet 2008) It Could Be Anything (Fresh Sound, 2005), The Brothers’ Breakfast (Steeplechase, 2006), and Blind Date (Pirouet, 2006), received critical acclaim from The New York Times and four star recognition in BBC Jazz Review, Jazz Man Magazine and Downbeat Magazine. Stillman has been featured on WKCR, Weekend America Public Broadcasting, and LIU Radio programming.

Stillman endorses AMT Microphones, Selmer Saxophones, Vandoren Reeds and Mouthpieces exclusively.

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“Loren Stillman is one of New York's best alto saxophonists, and has gained that distinction well before reaching age 30.”

-David Adler, Jazz Times Magazine

“a writer and a stylist that has found a previously unoccupied slot in the jazz spectrum”

-Jazz Review UK

“The magic, that which entrances, is not technique, although Stillman obviously can play anything his mind hears. He is that special player,one who is totally free.”

-Budd Kopman, AllAboutJazz

"Stillman writes music that’s intricate but unforced and devoid of pretension...just as important, he has a distinctive sound on his instrument — full but dry, with only the slightest intimation of vibrato — and he shows restraint and consideration in his solos. When a song opens up rhythmically, as happens often here, he sets an agenda without closing off alternative options. He’s a watchful sort of improviser, rigorous about everything, including the unknown.”

-Nate Chinen, New York Times

“Bad Touch is a young group facing the usual embarrassment of riches. It’s looking at 60 or so years of style and temperament in American jazz: soft, loud, fast, slow, in tempo, out of tempo, free, composed, cluttered, sparse, swinging and non-. And it has chosen all of them.”

-Ben Ratliff, New York Times

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