Bringing the Music of the 1920s to the forefront.

In our ever-evolving and often unpredictable culture, there is something refreshing about returning to life’s simplicities. A beautiful photograph, a breathtaking painting, or the rich sound of an orchestra can remind us of what lasts among constant change. For me, that connection has always been found through music. On July 17 (my birthday) my debut album Saxophobia: Celebrating the Sax Craze of the 1920s will be released on the Chandos label, one of Europe’s most respected classical recording companies. This project celebrates the music of legendary saxophonist Rudy Wiedoeft and represents a journey that has been more than 30 years in the making.

The music itself dates back to the 1920s. While every period has its challenges, there is no denying that life moved at a simpler pace before smartphones, iPads, social media, and the endless distractions of our fast paced lives. Perhaps that is part of the reason this music continues to speak to me.

I first discovered Wiedoeft’s music through my mentor and teacher, Ted Hegvik. From the moment I heard it, I was captivated. The lightning-fast runs, crisp articulation, quirky titles (Saxophobia, Sax-O-Phun, Saxarella), and infectious melodies immediately grabbed my attention. Even today, it’s difficult to fully explain why. Like many musicians, I was influenced by my first musical loves. Growing up in central Pennsylvania, I studied the saxophone seriously, but I had never heard the instrument played in this style or manner. As a teenager, those new sounds left a huge impression on me. Looking back, it’s hard to imagine the performer I would have become had I never encountered this music.

For the past 16 years, I have been searching for ways to reintroduce and reimagine this repertoire for contemporary audiences. In 2009, I premiered SAXOPHILM in Bangkok, Thailand, a fully scripted multimedia production that combined Wiedoeft’s music with silent film clips. Originally scored for saxophone, piano, and harp, the project later expanded to full orchestra arrangements by Lanny Meyers, Andrew Cottee, and Dan Higgins. The addition of the visual component transformed the audiences’ experience also. Suddenly, listeners had a familiar visual reference, like Charlie Chaplin or Harold Lloyd, that helped connect them to this lesser known music.

I’m thrilled to be joined by 2 wonderful collaborators, Lynette Wardle (harp) and Dalton Ridenhour (piano). Between the 3 of us, we have performed with the finest ensembles, music festivals and recording projects for the past 25 years. The wealth of knowledge in other avenues of music making only enhances SAXOPHILM and the unique style it displays.

I first discovered John Wilson through his fantastic recordings with his ensemble, The John Wilson Orchestra at the Proms in the 2000’s. The precision and style that the orchestra executed is unparalleled. John was a master transcriber and interpreter of the music of Hollywood’s Golden Age. Later in 2023, I had the pleasure to work with him recording lost gems of Frank Sinatra charts with crooner and Hollywood star, Seth MacFarlane. The journey with John and I began there at the Skywalker Ranch during those recording sessions. Our zoom and email chats about the logistics and how to make this project possible really paid off. I couldn’t be more thrilled at the production quality thanks to expert engineer, Jonathan Allen who worked at Abbey Road studios for over 25 years and now collaborates with John Wilson on all of his projects with the Sinfonia of London. The whole team at Chandos was first rate from beginning to end.

That philosophy guided the evolution of SAXOPHILM, which merged music that was largely forgotten with imagery that was immediately recognizable. The response was remarkable. Audiences became engaged not only with the visuals but with the music itself, discovering a repertoire they may never have encountered otherwise.

That same spirit is abundant in Saxophobia. From April 12th to 14th, 2025, we recorded this album at London’s Royal Academy of Music. Working with John Wilson and the Sinfonia of London was an unforgettable experience. From the very first note, the orchestra brought boundless energy and vigilant articulation to the sessions. The shimmering strings, vibrant brass, and colorful percussion elevated these works in ways I had only imagined. Mikaela Bennett, soprano extraordinaire, delivered 2 spectacular period songs, which will bring a smile to your face. The new orchestrations help bridge the gap between the 1920s and today. Enhanced rhythmic elements from the drum set and expanded orchestral sonorities brought this music a higher sophistication. Early recordings had to rely on primitive technologies- single microphones and wax cylinder recordings. Many of the musical details we can capture today would have been impossible to preserve in the 1920s.

My hope is that listeners will embrace this new interpretation and discover that this music sounds and feels vibrant, relevant, and inspiring. If there is one lesson I have learned through this journey, it is the importance of remaining committed to a vision while being patient to let that vision evolve. The concept behind both SAXOPHILM and Saxophobia changed dramatically over the years, yet the concept never did: to serve the music. Music and visual art share many similarities. Both must adapt to changing technologies and expectations while keeping standards of excellence and great artistry. The tools may change, but the pursuit of beauty, authenticity, and connection remains constant.

As the album’s release approaches, my work shifts to social media, interviews, and digital promotion, opportunities that simply did not exist for previous generations of artists. Having a record label like Chandos broadens the network and reach, connecting with potential new listeners I would not be able to find on my own. The challenge is finding balance: adapting to the modern world without losing sight of one’s passion and purpose. Ultimately, my hope is simple. I hope this album brings joy to listeners. I believe its soul and charm can speak across generations.

This project would not have been possible without my trio partners, Lynette Wardle on harp and Dalton Ridenhour on piano. Their musicianship, patience, and endless support enriched every part of this process. They have been with me every step of the way, and their contributions helped make this recording special. Finally, thank you to Aleks for the creative photo shoot and the opportunity to share Saxophobia: Celebrating the Sax Craze of the 1920s with your readers.

The memories from that day are as enjoyable as the music itself. What once was old can be new again. And sometimes, in revisiting the past, we discover new and fresh territory.

The album is available at Chandos.net, and wherever you stream your music.

Saxotively yours,
Chad Smith