A Chat with Robert Stewart (12.03.26)
This interview was contributed by guest writer Karen Beishuizen
Robert Stewart is a retired saxophonist who had a career lasting 30 years. His biggest influences when starting were John Coltrane and Ben Webster. He played with Wynton Marsalis for four years in his band. We talk about his long career, John Coltrane, Pharaoh Sanders, President Bill Clinton, and more.
When did you start playing the saxophone, and did you find it difficult to learn?
Stewart: I began playing the saxophone at 17 years old (although I’d owned one two years prior, but never played it). It was very difficult to learn because the saxophone note fingerings are nearly identical to the flute, which I had played since I was around 11 years old. It was a gift, so I bought an elementary flute method book and learned to read music and the fingerings of the flute from that book.
What kind of influence did John Coltrane and Ben Webster have on you?
Stewart: They were profound influences indeed. My high school music teacher (saxophonist Donald Ramsey) tried for 3 years to make me play the saxophone, but I had plans to play in the NBA against Michael Jordan. Mr Ramsey even called my mom to express his concerns about me wasting my talent. The following morning, I became furious and confronted Mr Ramsey. His final admonition was, “You are our last hope. If you don’t play jazz, our black art form will die!” Those words cut deep within my psyche.
Shortly after graduating, while surfing the radio to find a rap or R&B station, I stumbled upon a traditional jazz piece being performed by a tenor saxophonist who sounded as though he was literally possessed or enraged. The intense pace of the tune was unbelievable. This piece was immediately followed by another of romantic or heavenly qualities by a different individual. However, playing the very same instrument. These two jazz giants were John Coltrane and Ben Webster. The contrast in mood and timbre of the instrument played by these two men astonished me. I remembered Mr Ramsey’s admonition, and my destiny was sealed.
I read you called Pharaoh Sanders Santa Claus when you first saw him. Tell me the story.
Stewart: I had enrolled in a jazz class for jam sessions hosted by the Bay Area piano legend Ed Kelly. Saxophonist Joshua Redman, another contemporary giant, also enrolled in this class. As though the two previously mentioned weren’t enough for a wonderful beginning, the saxophone titan Pharaoh Sanders would regularly jam in the classroom with us. My initial impression of the eclectic, white-bearded tenor titan was, “Mr Kelly, who is the gentleman with the white beard extending to his abdomen, resembling Santa Claus?” Kelly’s response: “Man, that’s Pharaoh Sanders; he played with Trane (Coltrane).” Consequently, the mere mention of the name (Coltrane) induced immediate respect and admiration for the white-bearded tenor titan.
How did you meet Wynton Marsalis, and what’s the story behind The Reverend?
Stewart: I saw Wynton Marsalis at a classroom lecture in 1986. I formally met and played with him in a jam session in Oakland in 1988. I was soloing (eyes closed). Wynton came through the back door of the nightclub. I completed my solo, turned around, and he was standing behind me (with his trumpet in his hand), smiling. He called me not long after to join his Lincoln Center Jazz Orchestra. He even purchased a new saxophone for me to do so. I served a 4-year stint in his band. Wynton began referring to me as “The Reverend” because of my ability to speak (preach) through my saxophone like a Baptist preacher. Everyone began referring to me as “The Reverend” back then, and they still do so today.
You toured with President Clinton. What is your fondest memory of playing with him, and is he a good sax player?
Stewart: I never actually played or toured with President Clinton. However, I did perform for him at a private mansion fundraiser in the mid-1990s. After finishing his meal, he walked to the podium, turned on the microphone, and his first words were, “This young man (pointing and looking at me) is the greatest saxophone player that I’ve ever heard in my life. Hillary (Clinton) and I could barely eat because we kept turning our heads to watch him.” The heavyweights of the Democratic Party applauded for a long while. I was visibly flattered indeed. After the president spoke, he and saxophone great Clarence Clemons (of The Bruce Springsteen Band) came over to me to deliver more accolades and ask me numerous questions about the saxophone and my influences. After this, President Clinton and I met privately to discuss my work as a government clandestine asset, and he thanked me for my service.
Are there currently any great underrated sax players out there?
Stewart: There is only one saxophonist that I know of that deserves international recognition, and his name is Eddie Bayard. He’s one of my favorite young saxophonists today.
The 7 greatest sax solos ever: What would you pick and why?
Stewart: This is an almost impossible question to answer. However, I’ll do my best.
‘Pursuance’ by John Coltrane. His spiritual intensity & technical prowess are unmatched.
‘Reasons’ by Don Myrick. The Earth, Wind & Fire live version has the alto saxophonist covering the entire history of jazz, from the early 1900s to the avant-garde era; an unmitigated soul solo.
‘Love For Sale’ by Eddie Harris. This solo presented a new approach to playing chord progressions. His “Intervalistic Concept,” which focuses on the use of musical intervals rather than traditional scales, was a deviation from bebop and John Coltrane. The solo is comprised of solely intervals (no scales).
‘Like It Is’ by Yusef Lateef. Another innovator who derived his solo approach from ancient Egypt. Yusef’s solos make one feel as though he or she is listening to a musician from over 3,000 years ago.
‘Listen Here’ by Eddie Harris. This genius produced another innovation, “Fusion.” He is known as the “Father of Fusion” by most. This song was before Miles Davis, Weather Report, Herbie Hancock, Chick Corea, and all others began their fusion excursions.
‘Body & Soul’ by Coleman Hawkins. This is the “Father of the Saxophone,” paving the way for all future saxophone giants, including Lester Young, Ben Webster, Charlie Parker, Sonny Rollins, John Coltrane, and all others. Every saxophonist (me included) had to study this solo of harmonic sophistication and melodic elegance.
‘Tenor Madness’ by Sonny Rollins and John Coltrane. Two of the biggest names in jazz history are displaying their completely divergent concepts. One plays in a linear style (Coltrane), while the other plays in a rhythmic and angular style (Rollins), yet both create delightful music together; it’s magnificent!
What are you currently up to? I heard you retired from performing?
Stewart: Yes, I retired almost 9 years ago. I played the saxophone as a form of public camouflage while simultaneously working as a private contractor for the government; some people refer to us as assets. I retired from both after 30 years of service. I had accomplished all of the goals that I had set in both arenas. Consequently, I now enjoy retirement, teach online, write for major and minor publications, and am a published author of 10 books to date. I recently won the International Impact Book Awards “Author of the Year” for my latest book, Shadowed Hearts: Paranormal Love Stories.
Thanks to Robert Stewart for talking to us. Find out more about Robert Stewart on his official website, YouTube and Spotify.
