Jeff Antoniuk grew up listening to 1970s and 80s R&B, and funk like Michael Jackson, Earth Wind and Fire, and Average White Band, in addition to the required Rolling Stones and Led Zeppelin. He then discovered jazz fusion, which then led to classic acoustic jazz. In between all of this, he was studying classical piano classical theory and his master’s studies also included world music and ethnomusicology. The result is a wide range of musical taste and knowledge that have blended together with his other interests to create a unique voice and approach.

A native of Canada, Antoniuk came to the U.S. in 1986 to study music at the University of North Texas, one of the premier jazz schools in the world. He spent 6 years there and left with a Masters in Jazz Studies and West African Ethnomusicology. Antoniuk then became a founding member of the Unified Jazz Ensemble (UJE), a quintet he co-led for 10 years after leaving North Texas. The group toured the U.S., Canada, far east, and at one point was the flagship band in the National Endowment for the Arts (NEA) "Rural Residency Arts Initiative." The group recorded 5 CD's, and received much critical acclaim, as well as an award from Billboard Magazine for "Best Instrumental Performance" of the year. Antoniuk decided to leave the band in 2004 in order to form the Jazz Update. In addition to gigging with this band, Antoniuk is on the faculty at Towson State University and plays all over the country as a freelance musician. He also runs his Jazz Band Masterclass and Maryland Summer Jazz programs for aspiring musicians.

The Jazz Update is comprised of some of the finest veteran players in the area, all of whom are faculty members at local universities. The band features the organic drumming of Tony Martucci, the rock solid bass of Tom Baldwin, and the harmonic sophistication of pianist Wade Beach. The group’s first CD, entitled Here Today, was released in early 2007 and has reached the jazz charts in both the U.S. and Canada. Featuring all local musicians, the disc serves as a reminder of the talent in the area's jazz scene. The album is beautifully recorded and features 7 original compositions by Jeff Antoniuk and three standards, Thelonius Monk's "Four in One," Duke Ellington's "Prelude to a Kiss," and Benny Golson's "Stablemates." The originals are swinging and the playing is top notch. The track that stands out is "Noah's Little Play Song," a counterpoint between Antoniuk on saxophone and special guest Dave Ballou on trumpet with the rhythm section providing textural underpinnings.

Visit Jeff and the band online: www.jeffantoniuk.com; www.jazzupdate.com

See them next: The last Wednesday of every month at 49 West; the first Thursday of every month at Sign Of The Whale Restaurant and Bar, 7279 Arlington Blvd., Falls Church, VA.

Buy Their Album: Available on ITunes or CDBaby

Questions for Jeff Antoniuk:

The Jazz Update is comprised of some the finest veteran players in D.C., how did you go about choosing the lineup?

The Jazz Update is really my wish list of the best DC/MD/VA musicians. As I conceptualized the band, the musical approaches I wanted to take, and the personality I wanted to convey, I came up with a list of the best musicians to help me get there. I called Wade Beach, Tony Martucci, and Tom Baldwin, the top guys on my list. Happily, they all were interested in the project, which led to our first recording late last year, Here Today.

What led you to leave the Unified Jazz Ensemble and start your own band?

The UJE was a fabulous training ground for me, and a bunch of good friends. After 10 years with the UJE I had developed my own set of musical and personal goals and interests, and they increasingly beginning to conflict with the UJE, both time wise and conceptually. I had never really led my own group, since the UJE was more of a co-op situation. In 2004 it seemed like the time was right to explore more of what had been in the back of my musical and business mind for a few years.

You, and all of your bandmates, have successful teaching practices at both the private and university levels. How does one compliment the other, if at all, and how important is it for a teacher to continue gigging?

Many musicians teach "because they have to" to make a living. Some flat out refuse to teach because they don't enjoy it, which I absolutely respect. I teach because I truly love it, I'm good at it, and it serves a few deeper purposes. Teaching certainly keeps me fresh and a bit more up to date with some things than I might otherwise be. I have many advanced students (grad students at Towson University for example) who I really have to challenge each week, and that keeps my game up. I also, through Jazz Band Masterclass, my ongoing adult education program aimed at coaching small group jazz, have to have a good practical knowledge of all the different instruments, and how they function in a working jazz group. This knowledge certainly informs my own playing and interacting with the world class musicians I have the opportunity to play with. For example, I had the great opportunity to play with electric bass legend Marcus Miller on a few gigs earlier this year!

Since "the jazz audience" is a relatively small number of folks, it is very important to keep them with you, informed and eager to hear music. Jazz has moved from the clubs to the concert halls, and then on to the classroom over the years. By teaching, coaching and running a summer jazz camp, Maryland Summer Jazz, I have the opportunity to interact with many jazz fans and musicians that I might not otherwise meet.These students then get further fired up about jazz, and perhaps come out to a Jazz Update gig, a Towson Faculty Ensemble concert, or a show by any of our numerous faculty members. This community we are building is very important to the health of jazz and live improvised music in our part of the country.

Your CD, Here Today, has charted in both the U.S. and Canada. There are many talented jazz artists in the D.C. area but few of them garner any national, let alone international, exposure. What are you doing differently and what advice would you pass on to your colleagues in the jazz community?

We were very pleased with Here Today staying on the USA Jazz Top 40 for two months, and hitting #3 in Canada. What I am learning is that one needs to ask for help. I spent years trying to do everything myself, from playing the music to writing the songs, to booking the gigs to promoting the shows and CDs. And guess what? I'm not actually a genius at all these things! My skills are what they are, and I certainly have many jobs to do that, a) I'm not good at, and b) I don't enjoy doing, so I either don't do them at all, or do them poorly. My discovery is that there are professionals (and friends) out there who are eager to help. I just need to ask.

Alas, this help often costs money. Booking agents, PR people, administrators, business consultants, radio trackers and graphic designers all provide great services for a fee. I am learning that I am just like any other business. When I invest in myself by getting good help, I typically have good results. When I try to do everything myself, I tire myself out and end up with a poor product. My advice is "GET HELP!"

What are your goals as far as this group is concerned? Any hopes of touring or playing gigs outside of the D.C./Baltimore/Annapolis area?

We have recently contracted with a booking agency, with the goal of playing more quality gigs, both in the area and internationally. We are looking at many of the local festivals, concert series programs and concert halls for shows in the upcoming year. A new CD is certainly in the plans. The overall concept is still up in the air, but the essence of the music that seems to have been so successful with Here Today, the last CD, will remain. It's important to me that the personalities of all the musicians come across in our live shows, and on our recordings.

Image from Jeff Antoniuk's web site