About Jeremy Steig

One of the earliest and finest jazz-rock flutists, Jeremy Steig's an outstanding soloist. He's mastered the entire flute family, including bass, and also plays piccolo well. He has a similarily rich, classically pure tone and timbre like James Newton or Hubert Laws, and uses almost as many devices such as tongue fluttering, humming and swirling lines. But he's not as blues or swing oriented, and his associations include working in the early '60s with Richie Havens, and heading Jeremy And The Satyrs in 1967. Steig's father is the famous artist William Steig; he began playing recorder at six and took flute lessons at 11. Steig attended the High School of Music and Art. He played with Gary Peacock and Paul Bley in the early '60s, then led a jazz-rock combo in 1967 backing Tim Hardin before heading his own groups. Steig played with Mike Mainieri and Eddie Gomez in the '60s, and Jan Hammer in 1970. He began using electronics and synthesizers in the '70s, and toured Europe both as a soloist and heading quartets and quintets. He recorded with Gomez and Joe Chambers in the late '70s, and did sessions with Mike Nock, Karl Ratzer, Nana Vasconcelos, Ray Baretto, Steve Gadd and Jack DeJohnette in the '80s. In 1975 Jeremy Steig did indeed play the blues on an album called 'Temple Of Birth' featuring none other than Johnny Winter on some wicked guitar & dobro on several tracks. This was in return for the great flute work he did with Johnny in 1973 on the cut 'Too Much Seconal' from Johnny's album 'Still Alive & Well:. Steig currently has a couple of sessions available on CD.