Discography
As a Leader:
ArchMusic
A new album will release on November 14th, 2025 on Ravello Records
Recorded live in the tunnels of Brooklyn’s Prospect Park
A new album will release on November 14th, 2025 on Ravello Records
Recorded live in the tunnels of Brooklyn’s Prospect Park
'Regarding the Moon' is a new composition by Greek bassist Petros Klampanis, commissioned and performed by Andrew Hadro, baritone saxophonist in New York City. Hadro began working on the concept in the early days of the pandemic as a way to give work to composers during the global performance outage. It is written for double string quartet (four violin, two viola, two cello), bass, piano, drums and features the baritone saxophone. It utilizes the extreme upper register of the baritone saxophone, a range and timbre rarely used by composers.
The title is both a reference to the extreme upper reaches of saxophone range and a nod to composer Claude Debussy’s 'Clair de Lune'. The piece is so technically difficult that Hadro spent months re-learning the altissimo range of the baritone saxophone, while the recording took nearly 18 months to complete on two continents with sessions months apart.
According to Petros, 'Andrew asked me to write a tune that features the high register of the baritone, a sound which I find especially beautiful and surely not what someone expects to hear from a bari. I tried to integrate the roles of the different ensembles, within the whole group (strings on the one hand and a jazz quartet on the other) and create a musical story that allows the leading instrument to shine but not overshadow the colours of the group.'
This piece is the first in a series of compositions commissioned to feature the baritone saxophone with strings as part of Andrew Hadro's ongoing project, 'For Us, The Living'. Subsequent works will debut in 2022.'Regarding the Moon' will be released on the ΠΚ Music label on December 24th, 2021. Available wherever music is sold or streamed.
DOWNBEAT MAGAZINE EDITOR’S PICK - JANUARY 2022
’The piece serves as a loving ballad, and a bit of a nod to Claude Debussy’s “Clair de Lune,” delivered with stunning precision and grace. …So, is it jazz? New music? Who cares. It’s a work of extraordinary beauty.”
—Frank Alkyer
DownBeat Magazine
For Us, The Living is a project to honor tradition through innovation.
For Us, The Living II: Marcescence is the second recording in this series. All of the compositions recorded on this album were written by living composers.
This is a dedication to the musical giants upon whose shoulders I stand. Rather than re-interpret and re-perform long-standing works, I wish to extend the timeline of jazz with new compositions and performances by the best living composers and musicians today.
- Andrew Hadro
Andrew Hadro
Baritone Saxophone (All Tracks), Clarinet (1, 3, 4, 6, 8, 9, 10, 13)
Bass Clarinet (1, 7, 8, 10), Flute (1, 4, 8, 9, 10, 12, 13)
Julian Shore
Grand Piano (All Tracks), Fender Rhodes (Track 4)
Rogério Boccato
Percussion (Tracks 3, 4, 6, 7, 9, 10, 12, 13)
Recorded April 19th & 20th, 2016
Engineered, Mixed, and Mastered in Brooklyn, NY
by Michael Perez-Cisneros at Big Orange Sheep
Co-Produced by Andrew Hadro & Julian Shore
"…this new release is deeply moving and full of emotion… just listen to the marvelous mix of reeds and percussion on the 4:37 “Alexis“, and you’ll hear why I say that… sweet work, to be sure! The light touches on “Due Course” make for perfect listening – but be sure you listen to this with your headphones on (at least for the first sitting), so you can catch every little nuance – of which there are plenty. My personal favorite of the thirteen Andrew offers up is the ever-so-gentle, yet somehow fiery, “Throughout“…"
-Dick Metcalf, rotcodzzaj.com
“Rather than follow the path of bop-oriented bari blazers…Hadro prefers to play the baritone saxophone in a soft, beautiful, subtle way. And rather than waiting around to be signed to a label, he’d rather do it himself”
-Bill Milkowski, DownBeat Magazine
“Andrew Hadro teams up with Julian Shore/p-key and deliver a mix of free flowing originals along with some modern creations to create a gorgeous and sublime musical tapestry. At a time when intuitive music tends towards cacophony, Hardo wisely steers clear of all pitfalls, using his serene baritone to create rich impressions…”
-George W. Harris, Jazz Weekly
“Andrew Hadro’s approach to the baritone sax is one of subtlety and elegance, a style harking back to the soft-edged playing of Gerry Mulligan. As a composer, however, he’s a conceptualist with a gaze fixed squarely on the future. …Hovering between profound serenity and churning intensity, the song seems content, ultimately, to keep listeners suspended in the balance.”
-Brian Zimmerman, Jazziz.com
“Stunning and sensitive, with pictorial arranging.”
-Fiona Ord-Shrimpton, AllAboutJazz.com
“Andrew’s baritone sound wonderful as a lead instrument and Marcescence is a meaningful release.”
-O’s Place Jazz Newsletter
For Us, The Living is a project to honor tradition through innovation.
For Us, The Living II: Marcescence is the second recording in this series. All of the compositions recorded on this album were written by living composers.
This is a dedication to the musical giants upon whose shoulders I stand. Rather than re-interpret and re-perform long-standing works, I wish to extend the timeline of jazz with new compositions and performances by the best living composers and musicians today.
- Andrew Hadro
Andrew Hadro
Baritone Saxophone (All Tracks), Clarinet (1, 3, 4, 6, 8, 9, 10, 13)
Bass Clarinet (1, 7, 8, 10), Flute (1, 4, 8, 9, 10, 12, 13)
Julian Shore
Grand Piano (All Tracks), Fender Rhodes (Track 4)
Rogério Boccato
Percussion (Tracks 3, 4, 6, 7, 9, 10, 12, 13)
Recorded April 19th & 20th, 2016
Engineered, Mixed, and Mastered in Brooklyn, NY
by Michael Perez-Cisneros at Big Orange Sheep
Co-Produced by Andrew Hadro & Julian Shore
"…this new release is deeply moving and full of emotion… just listen to the marvelous mix of reeds and percussion on the 4:37 “Alexis“, and you’ll hear why I say that… sweet work, to be sure! The light touches on “Due Course” make for perfect listening – but be sure you listen to this with your headphones on (at least for the first sitting), so you can catch every little nuance – of which there are plenty. My personal favorite of the thirteen Andrew offers up is the ever-so-gentle, yet somehow fiery, “Throughout“…"
-Dick Metcalf, rotcodzzaj.com
“Rather than follow the path of bop-oriented bari blazers…Hadro prefers to play the baritone saxophone in a soft, beautiful, subtle way. And rather than waiting around to be signed to a label, he’d rather do it himself”
-Bill Milkowski, DownBeat Magazine
“Andrew Hadro teams up with Julian Shore/p-key and deliver a mix of free flowing originals along with some modern creations to create a gorgeous and sublime musical tapestry. At a time when intuitive music tends towards cacophony, Hardo wisely steers clear of all pitfalls, using his serene baritone to create rich impressions…”
-George W. Harris, Jazz Weekly
“Andrew Hadro’s approach to the baritone sax is one of subtlety and elegance, a style harking back to the soft-edged playing of Gerry Mulligan. As a composer, however, he’s a conceptualist with a gaze fixed squarely on the future. …Hovering between profound serenity and churning intensity, the song seems content, ultimately, to keep listeners suspended in the balance.”
-Brian Zimmerman, Jazziz.com
“Stunning and sensitive, with pictorial arranging.”
-Fiona Ord-Shrimpton, AllAboutJazz.com
“Andrew’s baritone sound wonderful as a lead instrument and Marcescence is a meaningful release.”
-O’s Place Jazz Newsletter
For Us, The Living is an effort to honor tradition by focusing on looking toward the future. All of the compositions recorded on this album were written by living American composers.
The title comes from President Abraham Lincoln's Gettysburg Address of 1863. Lincoln's speech urged Americans to appreciate, honor and respect the unsung and fallen heroes, and to further their unfinished work to usher in a new era. 2013 marked the 150th anniversary of the Address and so it seemed a fitting title for an album featuring living American composers, and carrying on the tradition of those who came before.
This is my dedication to the musical giants upon whose shoulders I stand. Rather than re-interpret and re-perform their works, I want to extend the timeline of jazz with new compositions and performances by the best living composers and musicians today.
Featured Performers
Andrew Hadro - Baritone Saxophone & Flute
Daniel Foose - Acoustic Bass
Carmen Staaf - Grand Piano
Matt Wilson - Drums & Cymbals
Recorded May 28th & 29th, 2013 At Stadium Red by Tyler McDiarmid
Mixed and Mastered by Michael Perez-Cisneros
Co-Produced by Julian Shore
Artwork Images by Daniel Mottet
© 2014 Hadro Music, All Rights Reserved.
Featured Composers
Andrew Hadro (Tracks 1, 2, 4, 5, 6, 10)
Julian Shore (Track 3)
Maria Schneider (Track 7)
Ryan Anselmi (Track 8)
James Davis(Track 9)
Limited Edition 140 gram Vinyl
Recorded live between 2021-2025, in the Cleft Ridge Span (built circa 1872) of Brooklyn’s Prospect Park, New York City NY
Andrew Hadro’s ArchMusic contains melodies distilled from 3 years of recordings made late at night within an arched tunnel in Brooklyn's Prospect Park. The sounds of the park and the city can be heard alongside the melodies. Crickets, casual listeners strolling through, car alarms, planes - it’s all in there. You can often hear the footsteps of Hadro as he traverses the tunnel searching for that evening’s resonances. Different sections of the tunnel reverberate in accord with different pitches, and each night the temperature, air pressure, and humidity change – altering which tones resonate longest, making each performance an exploration in resonant frequencies.
The 2020 pandemic forced live music out of concert halls and clubs and into homes and outdoor spaces. The beautiful restoration of the historic Endale Arch at the northern section of Prospect Park’s Long Meadow urged Hadro to expanded his knowledge in the history of Brooklyn, and Prospect Park. This interest combined with the urge to begin performing outside the home again and led to almost nightly trips to perform inside the tunnels found within the park.
The tunnel where ArchMusic was recorded was completed in the post-Civil war era, and several of the instruments proudly used are a century old (bass, baritone and alto saxophones). Manufactured by the C.G. Conn company of Elkhart, Indiana. Once the largest instrument manufacturer in America with acclaimed acoustic research facilities and forward-thinking strategies that are responsible for modern music education. Today that company is just a name owned by a corporation, but many thousands of instruments still produce music as a testament to the craft and ingenuity of America’s vanished wind instrument industry. Also utilized are instruments from Mid-20th Century France (Bass Clarinet), and modern crafted instruments from Asia (a newer bass clarinet) and India (shruti box).