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Steve Gregory
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Key Information

Stephen Gregory (born 1945) is an English jazz saxophonist and composer. He plays tenor, alto, soprano and baritone saxophone as well as the flute.

Biography and career

[edit]

Gregory was born in London. At St. Paul's School, he learned guitar and piano and played clarinet in the school orchestra. He turned down a place at the prestigious Guildhall School of Music and Drama to become a professional musician. Soon he was playing with the Alan Price Set and was in demand for session work, playing for artists such as Fleetwood Mac (on the second album Mr. Wonderful and early takes of "Need Your Love So Bad"), Ginger Baker's Air Force (on Ginger Baker's Air Force 2), and others. Alongside Bud Beadle, he provided the saxophone for the 1969 hit "Honky Tonk Women" by the Rolling Stones. He also played with Georgie Fame and Geno Washington.

Gregory began to branch out, continuing to play with Georgie Fame but also recording and playing with bands like Ginger Baker's Air Force, Gonzalez, Linda Lewis, Boney M. and Rocky Sharpe and the Replays. Gregory also played saxophone on Andy Fairweather Low's 1975 album La Booga Rooga.[1] He also spent some time in Nigeria, playing with Fela Kuti at his Afrika Shrine.

In the 1980s, Gregory decided to go freelance. He took on television work and continued with session work. In 1983 he played the saxophone on George Michael's hit "Careless Whisper".[2] Michael had already hired and fired several other sax players for the song, who the BBC characterized as struggling to play all the notes with "the right amount of fluidity and still breathe,"[3] Michael eventually heard what he was looking for from Gregory.[4] In interview with DJ Danny Sun, Gregory said he was the 9th sax player to attempt the riff and recalled that Michael's secretary had phoned him up at about midday and asked him to give the solo a try.[5][better source needed]

In the 1980s Gregory also worked with artists such as Bryn Haworth, Chris Rea, Alison Moyet, Freddie King, Maxi Priest, China Crisis, Queen (played solo on "One Year of Love") and Amazulu. He also was member of the 1983/84 world reunion tour of the Animals.

In the 1990s, Gregory played with Wet Wet Wet, Van Morrison, and then joined the Dennis Bovell Dub Band, touring around the world with Linton Kwesi Johnson. He released his first solo album, an acid/jazz/fusion set, Bushfire, on LKJ Records featuring Georgie Fame and John Deacon from Queen.

Gregory occasionally performs with the jazz band Pastiche.

Discography

[edit]
  • Bushfire (1994), LKJ Records (LKJ CD 011)
  • Misty (1980, Tan Tan & Steve), Third World Records (TDWD 26)

References

[edit]
[edit]
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Steve Gregory

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Steve Gregory (born 1945) is an English saxophonist, , and composer. He plays , , , and as well as , and is renowned for his session work on pop hits including the iconic solo on George Michael's "" (1984). Gregory's career spans over five decades, beginning in the with groups such as the Alan Price Set and . He has collaborated with artists including , , and , contributing to both and pop recordings.

Early life and education

Early years

Steve Gregory was born on January 8, 1983, in , and grew up in , New York. His father and stepmother were New York City police officers who were on duty during the , 2001, attacks. Gregory began playing football at age 9 in Pop Warner leagues on Staten Island. He attended elementary school at Margaret Mary Parochial School (grades 6-8) and before transferring to .

High school

At in , Gregory played on the junior varsity team, where he averaged five touchdowns per game as a and , leading to a quick promotion to the varsity squad.

College

Gregory attended , where he played for the from 2002 to 2005. A three-year starter, he lettered four times, primarily as a and . Over his college career, he accumulated 2,703 rushing yards, 1,037 receiving yards, 606 passing yards, 51 touchdowns, 184 tackles, and five interceptions. At the end of his tenure, he ranked third in Syracuse history with 40 passes defended.

Professional career

Beginnings in the 1960s

Steve Gregory launched his professional music career in 1963, opting to pursue performing over formal training at the Guildhall School of Music, where he had been accepted as a flutist. Initially working as a saxophonist and flutist, he secured his first gigs amid London's vibrant beat and R&B scene, contributing to the era's energetic club performances and recordings. By mid-1965, Gregory had joined the Alan Price Set, the band formed by keyboardist after leaving , taking on duties alongside Clive Burrows on baritone sax. He played a key role in the group's for their debut The Price to Play (1966) and singles like "I Put a Spell on You," which reached No. 9 on the charts, blending R&B covers with original material during the British Invasion's tail end. His and sax lines added a jazzy flair to the Set's live shows at venues like the Cooks Ferry Inn and their appearances on television programs such as Ready, Steady, Go!. Throughout the decade, Gregory's session work flourished in the emerging British R&B and nascent circles, where he provided horn arrangements for up-and-coming acts and recordings that bridged , , and improvisational elements. This period established his reputation as a versatile in a scene influenced by American imports and local innovators, setting the stage for broader collaborations.

collaborations and tours

In the early , Steve Gregory solidified his reputation as a versatile through high-profile rock collaborations that bridged , , and emerging fusion styles. His work on Fleetwood Mac's 1968 album Mr. Wonderful marked an early breakthrough, with the recording featuring a robust that complemented the band's raw blues-rock energy. Gregory's also featured prominently on ' 1969 single "," adding a gritty, barroom edge to the track's infectious riff and cowbell-driven rhythm. Released as a non-album single, the became one of the band's biggest hits, reaching number one on the UK Singles Chart and the US , while showcasing Gregory's ability to enhance mainstream rock with -inflected phrasing. A pivotal chapter in Gregory's career involved his tenure with , a supergroup blending rock, , and African percussion. Joining for the 1970 lineup of Air Force Mark II and III, Gregory played and on the live-oriented album Air Force 2, contributing to extended improvisational pieces that highlighted the ensemble's dynamic brass section alongside Baker's polyrhythmic drumming and Graham Bond's organ work. The band toured extensively that year, including a notable performance in captured on film, which helped introduce broader audiences to fusion experimentation rooted in Baker's post-Cream explorations. Gregory's international exposure deepened through travels to , where he performed with pioneer [Fela Kuti](/page/Fela Kuti) at the nightclub in during the early 1970s. This immersion in and Yoruba rhythms profoundly shaped his playing, incorporating polyrhythmic complexity and communal energy into his jazz and rock sessions, as the served as a hub for Kuti's politically charged performances blending with West African traditions. Concurrently, Gregory joined the British funk-jazz collective Gonzalez in 1971, serving as a core saxophonist and flautist in their horn-driven lineup. The band, known for instrumental tracks fusing , Latin, and R&B elements, released their self-titled debut in 1974 on , with Gregory's contributions evident on cuts like "Crossfade" that emphasized groovy brass interplay and extended solos. Gonzalez toured the club circuit during this era, building a among enthusiasts and providing Gregory a platform to explore genre-blending arrangements.

1980s breakthrough and pop sessions

The 1980s marked a pivotal shift for Steve Gregory, building on his rock collaborations to secure high-profile session work in pop and rock, elevating his visibility in the mainstream music scene. His reputation as a versatile session saxophonist led to iconic contributions that defined the era's sound, blending phrasing with accessible pop melodies. Gregory's ability to deliver emotive, breath-controlled solos made him a go-to player for demanding recordings. One of Gregory's most enduring achievements came in 1984 when he recorded the signature alto saxophone solo for George Michael's "Careless Whisper," featured on Wham!'s album Make It Big. Michael had auditioned and dismissed eight previous saxophonists who struggled with the demanding, continuous phrasing, but Gregory succeeded on his ninth attempt, completing the take in one breath due to his superior lung capacity and interpretive insight. The solo, with its languid, seductive tone, became instantly recognizable and propelled the single to global No. 1 status, selling over 11 million copies worldwide. Gregory's pop session work extended to other major acts, including a solo on Queen's "" from their 1986 album . Invited by bassist , who admired Gregory's playing with the 1970s band Gonzalez, he recorded the part in a swift one-hour session at Town House Studios, adding a soulful, improvisational layer to the under Freddie Mercury's guidance. That same year, he contributed to China Crisis's , enhancing tracks like "The World Spins, I'm Part of It" with and sax solos that complemented the band's sophisticated pop-jazz fusion. Further solidifying his 1980s profile, Gregory joined The Animals' 1983–1984 world reunion tour as saxophonist, performing alongside original members Eric Burdon and Alan Price, as well as Zoot Money and Nippy Noya, across a four-month itinerary that revitalized the band's R&B roots for modern audiences. He also provided baritone and tenor saxophone on Wet Wet Wet's 1989 single "Hold Back the River" from The Memphis Sessions, contributing to the Scottish pop band's early breakthrough sound amid their rising chart success. These sessions exemplified Gregory's adaptability, bridging jazz roots with the polished production of 1980s pop.

1990s and beyond

In the , Steve Gregory expanded his session work into and roots music, performing with Scottish pop band and contributing saxophone to Van Morrison's live performances, including the 1990 concert recording The Concert, where he shared the stage with on keyboards. These collaborations highlighted Gregory's versatility, blending his pop session experience with more improvisational elements in Morrison's ensemble. Later in the decade, Gregory joined the Dub Band as a key saxophonist, embarking on extensive international tours accompanying poet , which took him across Europe, North America, and beyond to promote and reggae-infused performances. This period marked a shift toward sustained involvement in the dub and scenes, with Gregory providing and arrangements that enriched the band's rhythmic explorations. His work with Bovell extended to studio recordings, including contributions to projects that fused with dub production techniques. Entering the 2000s and 2010s, Gregory continued his association with the Dub Band, adding horns to reissue compilations and new material, such as the 2019 track "Sax It Up," which showcased his enduring melodic style within dub frameworks. Session opportunities persisted sporadically, reflecting his reputation as a reliable woodwind specialist across genres. By the mid-2020s, Gregory balanced occasional live gigs with part-time teaching of woodwind instruments, emphasizing practical skills for aspiring musicians. In reflections on his career spanning over five decades, Gregory has credited the diversity of his collaborations—from pop icons to dub pioneers—for sustaining his passion, noting in a 2025 interview that the improvisational freedom in and dub kept him engaged long after his commercial peaks. This longevity underscores his adaptability in an evolving music landscape, where he remains active in mentoring the next generation while selectively performing.

Notable recordings and contributions

Key solo recordings

Steve Gregory's solo recordings highlight his leadership in blending with and fusion elements, showcasing his compositional approach through and melodies supported by diverse ensembles. His earlier co-led effort, Misty (1980, Third World Records), released under the moniker Tan Tan & Steve with trumpeter Eddie "Tan Tan" Thornton, exemplifies a - fusion style that merges smooth horn lines with rhythmic grooves influenced by sounds. The album features eight tracks, including the title track "Misty," a laid-back reinterpretation of the ; "Everlasting Dream," emphasizing dreamy, extended solos; and upbeat numbers like "Don't Shout" and "Got You On My Mind," which incorporate vocals and syncopated rhythms. Other selections, such as "Changing Partners," "So Long," and "Stay Close To Me," further explore romantic themes with Gregory's providing melodic anchors over bass-driven arrangements. This release marked Gregory's venture into leading a project that bridged his roots with 's infectious pulse, recorded in the UK amid the burgeoning fusion scene. In 1994, Gregory issued Bushfire on LKJ Records, his first fully solo-led album, described as an acid -fusion set that fuses electronic-tinged grooves with undercurrents and free-form exploration. Produced by , the recording process involved sessions with a rotating cast of collaborators, capturing live energy in a London studio to emphasize Gregory's and improvisations. The eleven tracks evoke themes of natural landscapes and introspection, from the introspective opener "Past-Future" to the rhythmic title track "Bushfire," which features bass by of Queen. Highlights include "Cinco Rios" and "Santiago," with Latin-inflected percussion; "East Of Aman" and "Undergrowth," building atmospheric tension; and closing pieces like "Oasis," "Chasm," "Paradise," and "Work-out," which resolve in uplifting fusion climaxes. Notable contributors include on organ for tracks like "Shrine," adding soulful Hammond textures, alongside guitarist John Kpiaye, percussionist Jeffrey Scantlebury, and keyboardist Henry Holder, creating a rich, collaborative that underscores Gregory's mature compositional voice.

Prominent session work

Gregory's early session work in the late included contributions to Fleetwood Mac's second album, Mr. Wonderful (1968), where he played on several tracks, enhancing the blues-rock arrangements with horn sections. Notable appearances feature on "Rollin' Man," providing rhythmic sax fills that complement Peter Green's guitar work, and "Need Your Love So Bad," where his alto lines add emotional depth to the slow . These performances marked his entry into high-profile rock sessions, blending phrasing with the band's raw blues energy. In 1969, Gregory, alongside Bud Beadle, supplied the saxophone parts for ' hit single "," recorded at in during sessions that spanned March to June. His tenor sax contributed to the track's infectious cowbell-driven groove, with layered horn punches underscoring the chorus and bridging Mick Jagger's vocals to ' riff. Anecdotes from the sessions highlight the casual yet intense atmosphere, as the band experimented with country influences before settling on the final rock arrangement, where Gregory's input helped solidify the song's barroom swagger. The track topped charts worldwide, showcasing his ability to integrate seamlessly into rock anthems. During the 1970s, Gregory traveled to , where he performed with at the Afrika Shrine in , immersing himself in Afrobeat's polyrhythmic intensity. His work added jazz-inflected solos and harmonies to Kuti's ensembles, bridging Western with and elements during live shows that often lasted hours. These experiences influenced his versatile style, as he navigated the Shrine's vibrant, politically charged atmosphere alongside Kuti's , contributing to the genre's global spread through unrecorded but legendary performances. Gregory's featured prominently in the 1983 reunion of , supporting their world tour and album The Ark. As a key , he played and sax on live renditions of classics like "" and "," infusing the performances with soulful extensions that revitalized the band's R&B roots. His contributions during the tour, alongside on keyboards and Nippy Noya on percussion, helped recapture the group's raw energy for audiences across and . One of Gregory's most iconic sessions came in 1984 for George Michael's "," where he delivered the memorable solo after eight previous musicians struggled with the part. The technical challenges arose from the solo's intricate melody and required tempo, initially composed too high and fast; Gregory suggested transposing it down a half-step and slowing the tape to nail the smooth, seductive phrasing that became synonymous with the track. Recorded at Sarm West Studios under producer , his performance—captured in one take after adjustments—elevated the to a global No. 1 hit, selling over 11 million copies. In 1986, Gregory provided the tenor saxophone solo for Queen's "One Year of Love" on their album A Kind of Magic. Written by as a soulful , the track replaced Brian May's guitar with Gregory's warm, reverb-laden sax lines, which weave melancholically through the strings and Deacon's bass. Pitched by Deacon due to Gregory's prior work with his favorite band Gonzalez, the solo integrates seamlessly into the song's intimate atmosphere, adding emotional resonance without overpowering the arrangement. This contribution highlighted his adaptability in pop contexts, appearing on a multi-platinum album.

Musical style and legacy

Instruments and technique

Steve Gregory is proficient on multiple woodwind instruments, including the , , , and saxophones, as well as the , which he has employed across , R&B, and pop contexts throughout his career. His versatility allows him to switch seamlessly between these instruments in live performances and studio sessions, drawing on a foundational training in to maintain technical precision. Gregory's signature sound is characterized by a mellow, warm tone that emphasizes lyrical expression over aggressive projection, often achieved through careful reed selection and mouthpiece positioning to produce a smooth, velvety . This tonal quality underpins his passionate solos, where he blends long, sustained phrases with subtle dynamic shifts, creating an emotive arc that resonates in both intimate settings and expansive pop arrangements. His breath control is particularly noteworthy, enabling him to sustain extended phrases without interruption; for instance, in his iconic solo on George Michael's "Careless Whisper" (1984), Gregory performed the entire main riff in a single take, relying on exceptional lung capacity to deliver the continuous flawlessly. Rooted in the jazz and R&B traditions of the , Gregory's technique incorporates elements like relaxed for tonal flexibility and precise articulation to mimic vocal inflections, influences he adapted to the rhythmic demands of pop and rock by prioritizing melodic clarity and emotional depth over complex harmonic exploration. This approach, honed through early collaborations in London's scene, allows his playing to bridge genres, as seen in his work on soul-infused tracks where he employs light and breathy attacks to evoke a flute-like airiness akin to jazz flautists.

Influence on jazz and pop

Steve Gregory's saxophone performance on George Michael's "Careless Whisper" (1984) played a pivotal role in revitalizing the saxophone's prominence in pop music, with its haunting riff becoming one of the era's defining sounds and synonymous with romantic ballads. Recorded as the 11th attempt after George Michael rejected prior versions, Gregory's solo utilized a technique where he played a semitone lower on his with the tape speed reduced, then sped up to create an ethereal, "unnatural" tone that enhanced the song's emotional depth and contributed to its chart-topping success across 25 countries. The 's enduring popularity has led to widespread covers by artists ranging from ensembles to orchestral arrangements, as well as samples in hip-hop and electronic tracks, influencing a resurgence of saxophone hooks in pop and bridging phrasing with mainstream accessibility. In jazz, Gregory advanced the jazz-rock fusion movement through his tenure with Ginger Baker’s Air Force from 1970 to 1971, where his and contributions infused the supergroup's expansive sound with improvisational flair and melodic texture, helping pioneer the genre's blend of rhythms and . This work exemplified his ability to traverse genres, drawing from his versatile technique to support the band's innovative live performances and recordings that expanded fusion's reach in the British music landscape. Gregory's legacy endures in the scene as a respected session player and , known for his mellow yet powerful tone that has inspired successive generations of saxophonists, though he has received no major awards and no posthumous recognition as of 2025. His festival appearances and reflections in interviews, including a 2021 radio discussion on his career-spanning collaborations, underscore his mentorship-like influence on emerging talent through shared experiences in the vibrant jazz community.

References

  1. https://www.allmusic.com/artist/steve-gregory-mn0000041494
  2. https://www.theguardian.com/music/musicblog/2014/oct/21/little-known-musicians-famous-moments-baker-street
  3. https://lintonkwesijohnson.co.uk/steve-gregory/
  4. https://www.pro-football-reference.com/players/G/GregSt20.htm
  5. https://www.patriots.com/news/inside-the-helmet-steve-gregory-186121
  6. https://www.espn.com/blog/new-england-patriots/post/_/id/4737497/football-journey-steve-gregory
  7. https://www.chsaaf.com/alumnus/steve-gregory/
  8. https://www.sandiegouniontribune.com/2009/08/14/football-smarts-key-for-gregory/
  9. https://cuse.com/sports/football/roster/steve-gregory/3271
  10. https://cuse.com/sports/football/roster/steve-gregory/1515
  11. https://www.saxontheweb.net/threads/how-is-this-song-being-played-without-high-f-sharp.400383/
  12. https://garagehangover.com/alan-price-set-gigs-1965-1968/
  13. https://www.discogs.com/release/3255294-Alan-Price-Set-I-Put-A-Spell-On-You
  14. https://www.imdb.com/title/tt0802070/
  15. https://www.queenonline.com/features/on-the-spotsteve-gregory
  16. https://www.discogs.com/release/4479636-Fleetwood-Mac-Mr-Wonderful
  17. https://music.apple.com/gb/song/honky-tonk-women/1706518345
  18. https://www.discogs.com/release/7132312-Ginger-Bakers-Air-Force-Air-Force-2
  19. https://www.youtube.com/watch?v=GOyH2L82bcU
  20. https://www.gingerbaker.com/gingerbakerhistarchivehome.htm
  21. https://www.allmusic.com/artist/gonzalez-mn0000660532
  22. https://www.musicradar.com/news/wham-george-michael-careless-whisper
  23. https://www.saxophonistforhire.co.uk/blog/who-played-saxophone-on-careless-whisper
  24. https://www.discogs.com/release/6415243-China-Crisis-Flaunt-The-Imperfection
  25. https://www.goldradio.com/hall-of-fame/animals-eric-burdon-songs-members-name/
  26. https://www.discogs.com/release/10433577-Wet-Wet-Wet-Holding-Back-The-River
  27. https://music.apple.com/us/song/real-real-gone/1828522607
  28. https://www.uncut.co.uk/features/dennis-bovell-on-his-finest-albums-i-have-no-problem-calling-the-shots-139683/
  29. https://dennisbovell.bandcamp.com/track/sax-it-up
  30. https://www.energyflashrecords.co.uk/catalogue/title.phtml?product_id=217824
  31. https://www.discogs.com/release/4040476-Steve-Gregory-Bushfire
  32. https://www.discogs.com/master/1685232-Steve-Gregory-Bushfire
  33. https://www.queenvault.com/JohnDeaconCollaborations/
  34. https://www.discogs.com/master/38715-Fleetwood-Mac-Mr-Wonderful
  35. https://www.nolazine.com/post/george-michael-went-through-10-different-saxophone-players-before-choosing-steve-gregory-for-carele
  36. https://www.queensongs.info/studio-info-page/one-year-of-love
  37. https://rateyourmusic.com/artist/steve_gregory/credits/
  38. https://www.nme.com/blogs/best-saxophone-solos-in-music-2908908
  39. https://www.smoothradio.com/features/careless-whisper-george-michael-lyrics-meaning/
  40. https://www.bbc.co.uk/music/articles/1a9a65b5-4775-419b-822a-c07b87245f9c
  41. https://www.allmusic.com/artist/ginger-bakers-air-force-mn0001247217
  42. https://www.youtube.com/watch?v=pF8HRUbeeUQ
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