Tony Moreno

Website: tony's Website

Record Label: Mayimba Jazz

Genre: Jazz

Date Active:

“One of the most highly sought drummers in New York City” (NYJW), Tony
Moreno, born and raised in Manhattan, N.Y. began playing the piano at
three years old. His mother was also a musician. At the age of ten years old,
Tony became interested in the drums and began lessons with Stan Koor,
and received his first set of drums from Elvin Jones the following year. He
studied with Elvin over the next seven years. His other teachers included
Art Blakey, Al “Tootie” Heath, James Priess, Freddie Waits, and Bob Moses.

Moreno has made over 100 recordings including the following musicians:
Jaki Byard, Gary Thomas, Tim Hagens, Dave Liebman, Ravi Coltrane, Michael
Formanek, Marc Mommaas, Vic Juris, Jean-Michel Pilc, Frank Kimbrough,
Art Lande, Matt Garrison, Juergen Friedrich, John Hebert, Ben Monder, Russ
Lossing, Francois Moutin, Nicolaj Hess, Jon Irabagon, Alex Sipiagen, Richie
Bierach, John O’Gallagher, Rez Abbasi, Michael Gassman, Roberto Bonati,
Steffano Battaglia, Loren Stilmann, Ben Monder, Billy Drewes, Gary Versace,
Scott Robinson, Paul McCandless, Lonnie Plaxico, Tim Ries, Oscar Noriega,
Chris Potter, Elvin Jones, Jay Anderson, George Garzone, Ralph Allesi,
George Colligan, Peter Eldridge, Jane Monheit, Howard Alden, Mark Soskin,
Sam Newsome and many more.

Moreno has performed with, among others, Eddie Gomez, Arthur Blyth,
Michel Portal, Mino Cinolu, Ayden Essen, Sonny Fortune, Eddie Henderson,
Larry Willis and Frank Lacy, The Lounge Lizards World Tour, Mal Waldron,
Barry Harris, Paul Bley, Mick Goodrick, Richard Bona, Dave Kikowski, Billy
Harper, Mark Turner, Lee Konitz, Miles Okazaki, and Brad Shepik.

Moreno has toured in over 60 countries as both a performer and educator.
He currently teaches at New York University (Jazz Studies and Performance),
and at the Columbia University Louis Armstrong Jazz Studies Program.




Short Stories

Short Stories

“After Hurricane Sandy destroyed my studio, I was offered a monthly residency
at The 55 Bar for the Quintet. We performed together over four years. Since
I lost my drum set, I purchased a small keyboard and began composing
again. It was, of course, cathartic. It was time to document the band. We had
enough music for two CDs. I had to clean the slate and move on.
We did 11 first takes in one day. We simply ran down the sets. We only
rehearsed twice over four years. We did not have to: we were playing every
month learning the music on the bandstand. We had great trust with each
other. The chemistry was perfect.

Most importantly, I wanted to document the flexibility of the band. Every
composition is unique, featuring different arrangements, orchestrations, and
soloists. I told everyone before recording: stretch out. Play the way we play
live. Everyone rose to the occasion. I am very proud and honored to have
recorded this Quintet with such great musicians.”

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