A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone - Chester Jenkins

125 Appendix C. Interview with Kevin Sedatole Conducted by Chet Jenkins March 17, 2018 over the phone JENKINS: I will try to keep this as concise as I can for you. But thank you again for giving me a call. SEDATOLE: Yeah, no problem. I’m sorry it’s taken so long. JENKINS: Not a problem. I understand. I understand totally. So, one of the first questions I have, what you could tell me, I’ve asked all the members of this, but what could you tell me about your recollection of the genesis of this work coming about? SEDATOLE: Well, we were at the American Bandmasters Association. I was actually just coming from Indy. Joe Lulloff was soloing with us on the Mackey Concerto. And my friend Howard Gourwitz was there, and Steven was there because we were closing the concert with the fifth movement of his Wind Ensemble Concerto. And, this was a post- concert hang at a local establishment in Indianapolis. And one thing led to another. And Joe was like, ‘I want to get a piece from Steven.’ And I was like, ‘Howard, we want to get a piece from Steven.’ And it all just kind of happened late at night. JENKINS: Gotcha. One of the main reasons I wanted to talk to you was from your experience from the ensemble part. What were, to your memory, some of the major challenges or issues going through the rehearsal process with this piece? SEDATOLE: Well, one of the issues was the meter that Steven chose to write in the first movement. It wasn’t terrible, once they figured out what value of note was going to get the beat. Then everything was fine. JENKINS: Right SEDATOLE: But past the college ensemble, I’ve done this with a couple of high school groups now, and it just looSEDATOLE very foreign to them, because they’re not used to reading in that particular time. But, it’s not anything that’s not…it’s achievable for sure. JENKINS: Sure