Take 5 with Rico Jones
Did you ever wonder what your favorite musicians are listening to, or the recordings that influenced them? “Take 5” is a look at the music that inspires and excites them. It is difficult to choose ONLY five recordings!
Colorado native Rico Jones is a rising star and one of the most accomplished saxophonists of his generation. Based in Harlem, New York, he is a prolific performer, composer, and educator dedicated to pushing the boundaries of jazz while honoring its deep-rooted traditions. In 2024, he recorded his debut all-original jazz album under Giant Step Arts, a nonprofit founded by legendary jazz photographer Jimmy Katz, whose catalog includes Mark Turner, Jonathan Blake, Chris Potter, and Eric Alexander.
In February 2025, Rico made his debut at the Blue Note in New York City, performing as a special guest with Esperanza Spalding and her band on February 25 and 28.
His critically acclaimed debut Bloodlines was released earlier this year, earning a four star review from Downbeat magazine and included on the publication’s “Best Albums of 2024” list.
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Louis Armstrong and His All Stars (Decca)
When I first started playing the alto saxophone at the tender age of 10, this was the one jazz record my folks had in the house. In hindsight, I am deeply grateful that of all the records they could have had, it was Louis Armstrong and his All-Stars. I listened to that album on repeat, falling in love with the melodies and the spirit of the music. Alongside the virtuoso musicianship, there were also the joyful vocal numbers by Louis and Velma Middleton, which captured me completely.
Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Blue Note)
My mother had the foresight to have me audition for the Denver School of the Arts, where I went on to study under Director of Bands Dave Hammond. One day in my sixth-grade jazz ensemble, Mr. Hammond played the track Blue Monk for us to show where the melody we were learning came from. I was astounded. In that moment, I became aware of how high the bar really was. That record became another I listened to constantly. At the time, the harmony and melody felt almost alien to me, but their sincerity and heart kept me intrigued. The spirit of the music pulled me forward even when my understanding was still catching up.
Wardell Gray Memorial (Original Jazz Classics)
One of my early and most influential teachers was tenor saxophonist and doubling extraordinaire Ron Wright. I would visit Ron for lessons at his home from time to time where he kept a massive record collection. We would listen to and play along with records together. He’d pick out different artists to hip me too. At one point he allowed me to copy a hard drive full of records to my computer. He made sure to tell me to check out Wardell Gray and from that moment on I was hooked on his melodies. I loved listening to “Twisted “and “Blue Gray” which in particular touched my heart deeply.
Stan Getz “Serenity” (Verve)
When I was 11 years old, my father and mother, Charles and Patricia Jones, would take me out to Meade Street Station on Wednesday nights to hear the great saxophonist Laura Newman and her band featuring Ellyn Rucker on vocals, Vlad Girshevich on keys, and Jill Fredrickson on drums. They were an endless source of inspiration to me and remain so today. Laura was kind enough to invite me to sit in with the band early in my development. She would often play Kenny Barron’s composition Voyage, which I learned by ear and returned week after week, trying to improve. That search led me to Stan Getz’s album Serenity, which made me fall deeply in love with Stan’s sound and improvisations. Yet another record I wore out completely.
Jackie McLean – Capuchin Swing (Blue Note)
Here is an artist I would have never found if not for my father Charles Jones’ thoughtfulness. One day, he stopped into Starbucks for a coffee and heard Jackie McLean wailing over the sound system. He asked the barista who it was and wrote it down. When I came home from school, he told me, “You need to check out Jackie McLean. Look up Capuchin Swing.” By the title alone, I did not know what to expect, but when I heard Jackie’s compositions and his fiery improvisations, I was captivated. I could not help but look up to him and hope one day I’d reach his level of artistic excellence.
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