Anthony Caceres


Jazz Corner

Jazz Times




Anthony Caceres, the grandson of the great swing violinist Emilio Caceres and grand nephew of baritonist and clarinetist Ernie Caceres (who worked with Eddie Condon and Glenn Miller), is a warm vocalist and a fine string bassist. His best known association as a sideman was with the Glenn Miller Orchestra but nowadays Caceres is mostly seen at the head of his own combos around the Houston area.


On his six-song EP Don’t Call It Love, Caceres leads a trio that also includes guitarist Brad Ard and drummer Richard Cholakian, with three songs adding Boris Kurganov on tenor sax. The program begins with a straightforward and joyful version of “You’d Be So Nice To Come Home To.” Caceres is showcased as both a singer and during a fine bass solo. On “Wives And Lovers,” he really gets into the lyrics, displaying a deep voice. Stevie Wonder’s “Golden Lady” gives him an opportunity to show that he can interpret more contemporary material too.


Duke Ellington’s “Do Nothing Til You Hear From Me” is successfully revived. “Don’t Call It Love,” a Russell Bright composition originally recorded by Johnny Hartman, is about a man hedging his bets in a new love affair. With luck it could become a standard in the future. This fine set concludes with Antonio Carlos Jobim’s “Quiet Nights Of Quiet Stars” which has an excellent chordal guitar solo, a nice spot for the tenor, and finds Caceres hinting at Frank Sinatra a bit but in his own way.


Don’t Call It Love is easily recommended to listeners who enjoy hearing modern-day crooners. Anthony Caceres displays plenty of potential.


Scott Yanow, author of 10 books including The Jazz Singers, Trumpet Kings, Jazz On Film and Jazz On Record 1917-76

All About Jazz

Bassist/vocalist Anthony Caceres Inspired By Earth, Wind & Fire

Q: When did it start for you, the decision to become a vocalist?

A: I decided to pursue singing seriously back in 2006 while I was on tour with the Glenn Miller. Up to that point I was primarily a sideman performing on electric bass and upright bass with many different groups.

Q: Was jazz always your primary music of choice?

A: Growing up as a child, jazz wasn't always my music of choice even though it was in my blood. My grandfather Emilio Caceres was a jazz and swing violinist who toured with his own group and was featured on Benny Goodman's “Camel Caravan" radio show. My dad introduced me to the sounds ofStan Kenton and Woody Herman along with Blood, Sweat, Drum + Bass, and Earth Wind. Earth, Wind & Fire really stood out to me. I always dreamed that I wanted to play in a band like Earth, Wind & Fire and sing like Philip Bailey. I use to have my African-American friends from the neighborhood come over, and we would pretend that we were performing just like them to my dads reel-to-reel Earth, Wind & Fire recordings. I always refer to their 1980 Concert on HBO that changed my life. When I saw that I always knew that music was something I wanted to do.

Q: Where were you born, and where did you grow up? Were your parents supportive of your musical career?

A: I was born and grew up in San Antonio, Texas. While I got involved in music my parent's weren't too supportive of my music. They really had no idea that I could sing or that I was very serious about it.

Q: What is the jazz scene in Texas like?

A: The jazz scene in Houston is a close-knit community; just like any other scene there are some great players. Houston is also home to Cézannes Jazz Club which features local and national talent.

Q: What was it like touring with the musical Miss Saigon? What was your role in the play? And how did you get involved with it?

A: I was recommended by a friend of mine to join the Miss Saigon musical. I wasn't involved in a role or singing. I was part of the orchestra pit doubling on electric bass and upright bass. It was a great tour across the U.S. I gained a lot of mental experience as a sideman from this tour.