Tim Gordon grew up in rural Matthews, North Carolina, far from the big city life and the fast times of jazz music. But thanks to a few concert tickets from his father one saturday night, he found what he wanted to become. After a summers evening at a Boots Randolph concert in Charlotte, he found his first love-the saxophone. Tim convinced his parents to buy him a sax...and so it began.

Tim Gordon is a 1980 graduate of The North Carolina School of the Arts.  He returned to NCSA in 1990 to complete a master's degree in Saxophone Performance. Tim has established himself as a successful, nationally acclaimed, freelance recording artist. He has also spent a great deal of time as a teacher and  touring musician. Working with some of the biggest names in the industry, including: The Four Tops, The Temptations, The Count Basie Orchestra, Roger Waters, The Spinners, Aretha Franklin, Frankie Valli, and Bonnie Bramlett. Local activities include a diverse array of musical performances, as with any in demand musician, from Broadway shows to recording sessions. 

He has worked extensively with major symphonies in Charlotte, Winston-Salem, Salisbury, Greenville, Spartanburg, Agusta, GA and  The North Carolina Symphony. Tim has taught at the college level at Davidson College, the University of North Carolina at Charlotte, Winthrop University and currently Central Piedmont Community College.  As a guest clinician at many jazz festivals in Alaska, Texas, Indiana, North and South Carolina and Florida, Tim is in high demand.  He's adjudicated in North and South Carolina All-State, District and Governor School programs. in North and South Carolina and Florida. As well as adjudicating in North and South Carolina all-state,district band and g

Tim has also recorded extensively with regional artists including: Maurice Williams, Jim Brock, Don Dixon, Maria Howell, Darryl Rice, Clifford Curry, The Tams, The Drifters, and The Platters.  National recording projects include work with The Four Tops, The Impressions, Anthony Hamilton, Queen Latifah, Bonnie Bramlett and The Big Dipper. Television and video credits include "The Young Indiana Jones," "The Four Tops Live from the MGM Grand in Las Vegas,"  "The Nature of Drumming" with Jim Brock and the children's show "Raggs"... Just to name a few.

Tim's first solo CD is soon to be available with the release of "Up & Up".  This contemporary recording features a lineup of some of the best players from across the country...with all songs written and arranged by Tim.



Industry Veteran Ricky Schultz says...

"The measure of a musician is their body of work.  It's what seperates the men from the boys.​

Credentials --- the company you keep. It takes time, opportunity, and in the end-real talent do such a thing. You have to put in many thousands of hours--you can't fake the funk.

What makes a body of work? Twenty years with both The Temptations and The Four Tops. Like a rock.

Having worked with a list of artists so deep, (Google it) from so many genres, that suddenly it hits you--TIM GORDON is one of those players--one of the clutch, go to saxophonists in contemporary music.

Dedicated to his art, Tim is a connoisseur-level musician. His dedication is apparent when you hear his sound. And suddenly it hits you again--you've probably heard him before, maybe even seen him along your musical journey.

SOULFUL, hip-smart, and technically brilliant. What else could you ask of a saxophone player?

Encyclopedic range, comfort with any kind of music, and besides all that? He's a real nice guy.

You're in for a real treat here. Tim Gordon has finally made a record of his own.

Ricky Schultz


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A New Definition of Music Literacy: What, Why, and How?

Music Educators Journal, Volume 107, Issue 3, Page 15-21, March 2021. <br/>The purpose of this article is to articulate clear definitions of music literacy and text, explain what impact they may have on music education generally, and describe their application to day-to-day teaching. The broadened definitions are intended to unite music professionals’ understanding of music literacy and help them more clearly approach music literacy instruction while simultaneously fulfilling curricular expectations of administrators and other stakeholders. Specific benefits of the new definitions include (1) aiding conversations between music teachers and literacy administrators, (2) providing clarity in the examination of broad issues and general approaches in music education, and (3) enhancing clarity and effectiveness in day-to-day instructional planning and delivery.

Creating Virtual Ensembles: Common Approaches from Research and Practice

Music Educators Journal, Volume 107, Issue 3, Page 38-46, March 2021. <br/>A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

Believe: Music—the Sound of My Heart

Music Educators Journal, Volume 107, Issue 3, Page 10-10, March 2021. <br/>

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