Instagram Story Save

@instagram disabled and deleted my account and i don’t know why and there’s no way to find out. please sir may i have another!!

tonight
solo set @solarcbrewing
7:30pm
supporting Toil to Gather
(@viola.wavand @nicholas.deyoe)
pay what you can

i’ll be playing a chill ambient set of original music previewing my upcoming solo album from @esp_institute

followed by Toil to Gather previewing their new album

📷 @mimihaddon

Santa Monica Boulevard, 2025
Shot by @normandesmondhollywood

Music by @djww
Remixed by @per_fectlovers
for @chinottorecords
🎷🫡

these last few weeks have been wild

The Nimoy Theater, Westwood
Shot by Bailey Holiver for @wildup @cap_ucla

#classicalsaxophone

I’m with @wildup this week playing bass and soprano clarinets an intimate show of deeply cathartic music by Catherine Lamb and Cassandra Miller at the Nimoy Theater in Westwood via @cap_ucla

📷 San Francisco, 2025
shot by the cuz @joeysprinklesjr at @thelostchurchsf while on tour with @brendan.eder (catch us on the east coast in may and west coast in June)

All the links in bio

#newmusic
#bassclarinet
#westwoodvillage
#losangeles

To quote a dear friend, “what anyone else thinks about what I do is none of my business,” and I tend to agree, but I’ve just realized that Trans Day of Visibility this year coincides with the birthday of JS Bach, making it a good opportunity to talk about the delightfully c**ty (CATTY OMG) last line of BBC Music’s review of they/beast. The only negative-adjacent in an otherwise glowing account, the reviewer closed the review with the terse statement “Bach’s Suite…is virtually unrecognizable in this transcription.”

As a saxophonist I’m used to transcriptions (adapting music to be played on an instrument other than that which it was originally written for), and I think that many of my musician colleagues are as well. I don’t know the reviewer and can’t comment on their familiarity with transcriptions. But I understand that adapting a piece in this way, even when we strive for ‘authenticity’ to ‘honor the composer’s wishes’ changes the way it’s heard. That’s something that I’ve long accepted and doesn’t really bother me. It’s not a cello suite. It’s a tubax suite.

A few years ago a friend came to me to share recent experiences with a mutual friend who had recently transitioned gender. I’m paraphrasing here but something like they’re different, more direct, pushes back more, not as easy to deal with.

I responded…of course they are. They’re free. Experiencing life unburdened by adapting to other’s expectations. Finding new things. Learning the space of their new self. Discovering their confidence. Of course they’re changing. That’s what transition is. What did you expect would happen?

I guess that some people think that what you are at birth, or what you are when they met you, defines you. How boring to think that it could never change. How sad to be afraid of evolution. I’m grateful for the beautiful trans people in my life, and for the incredible music and musicians I’ve been around, who taught me to never stop learning, never stop growing, never stop evolving. Life is transition.

👺 @kolbykeene
🎷 @eppelsheim_blasinstrumente
📷 @klittyglitter
📄 @bbcmusicmag

#transgenderdayofvisibility
#classicalsaxophone
#nonbinary
#saxophone
#bach

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

Michael Tilson Thomas’ Urban Legend is a musical depiction of an American urban legend…a crocodile living in the sewers of New York City. In my imagination of the piece, the solo baritone saxophone, the “monster,” is feared and reviled at first, but as they emerge more often and more visibly, a lone voice (solo violin, a bit earlier than this excerpt) seems to say “there’s nothing to fear,” gradually turning hearts and minds, swaying the mob, culminating in a triumphant parade which celebrates, centers, and uplifts their existence (heard here).

//

I’m thankful to my colleagues of muse/ique, who for three years celebrated and uplifted my existence as a non-binary person. The acceptance and encouragement I received with that ensemble gave me the confidence to present myself authentically in other professional settings, in orchestras with non-gendered dress codes, and a few that still have gendered dress codes. As I’ve stepped onto these other stages as myself I’ve been met with love and good will.

//

We’re here, we’re queer, and we’re not going anywhere. Tune out the noise. Happy Trans Day of Visibility 💙🏳️‍⚧️🩷

🎶 @mtilsonthomas
🎻 @sfsymphonymusicians
🧑‍✈️ @eoutwater
🎙️ @tusz
📷 @haoyuanren
📷 Matthew Washburn @sfconservmusic
💿 @pentatonemusic
🎼 @wisemusiccreative.us
🎷 @connselmerinc
🎷 @henriselmerparis

#tdov
#transdayofvisibility
#nonbinary
#classicalsaxophone
#newmusic

@sebastianeparty
@akbarsilverlake
@dj.sindri
@theshapeshifters

#dance
#queerart
#saxophone
#nightlife

🙏🏻🙏🏻🙏🏻
💙💙💙

2026, Del Mar, California

Music by Lewis Spratlan (winner of the 2000 Pulitzer Prize for Music), “Invasion” written in 2022 in response to the atrocity of Russia’s war in Ukraine

Recorded with

Nadia Shpachenko, piano @shpachenkonadia
Aija Mattson‐Jovel, horn @aijamattsonjovel
Phil Keen, trombone @phil_keen
Yuri Inoo, percussion @dryuri_perc
Joti Rockwell, mandolin
Anthony Parnther, conductor @anthony_parnther

@henriselmerparis
@connselmerinc

#newmusic
#classicalsaxophone
#classicalmusicians
#pulitzer
#ukraine

2022, Elysian Park, Los Angeles

shot by @klittyglitter

music by @mileycyrus (me on alto and baritone saxophone), Something Beautiful, 2026 GRAMMY nominee for Best Pop Vocal Album

this was my first photoshoot in a dress. after 40 years, I became a lot happier when I started dressing this way.

#saxophone
#nonbinary
#trans
#mileycyrus
#givemelove

2026, Pico Union, Los Angeles

👚 @itspicclepee

🎵 Sergei Prokofiev (1935): Romeo and Juliet, opus 64, Scene 13, Dance of the Knights, recorded by the Los Angeles Philharmonic (me on tenor saxophone), conducted by Gustavo Dudamel

@laphil
@gustavodudamel
@henriselmerparis
@connselmerinc
@dgclassics

#prokofiev
#classicalsaxophone
#orchestra
#ballet

2022, Mulholland Drive, Los Angeles

📷 @klittyglitter
🎶 The Light of Hope Returning by Shawn Kirchner, performed with @pasadenachorale, 2023

@henriselmerparis
@connselmerinc
#saxophone
#classical