Eskelin was raised in Baltimore since the age of two and began playing tenor saxophone in 1969 at age ten learning standards from his mother, organist Bobbie Lee (see bio), and playing at house parties as a young teen. His father was the late Rodd Keith, keyboardist and arranger who achieved cult hero status after his tragic death in Los Angeles in 1974.
In 1973 Eskelin attended the first of many annual summer week-long residencies hosted by the Stan Kenton Orchestra at Towson State University while studying privately with local saxophonist Jimmy Oronson. Eskelin later enrolled in Towson State University and played in the Towson State Jazz Ensemble under the direction of composer Hank Levy. As a teenager he got his start playing local clubs and dances, was active with a number of local big bands and did studio work including two LPs for “Crack the Sky.”
By 1979 he was forming his own jazz groups performing at clubs such as the Cafe Park Plaza, The Bandstand, and The Closet with musicians such as pianist Bob Butta, bassist Terry Plumeri, bassist Drew Gress, pianist Marc Cohen, pianist Tim Murphy. Eskelin also played in jazz drummer Harold White’s group along with Mark Russell (bass), Tom Williams (trumpet), and Lee Hawthorne (piano) performing often at The Closet and the 20 Grand Club.
In 1981 Eskelin left Baltimore to go on the road with a big band led by swing-era trombonist Buddy Morrow. In 1983 he moved to New York City and established himself as an internationally recognized touring and recording jazz artist forging his own unique music, sound and style for which Downbeat magazine commented “…Eskelin continues to be the most inventive American tenor player in creative music…” (Down Beat Nov. 1996). As of this writing Eskelin has released 20 recordings as a leader and appears on scores of others as a side-person. Describing his latest recording, ‘One Great Night…Live’ Ellery said it was “recorded live at Towson University, my alma-mater. Given the fact that Baltimore really shaped my sound in my formative years it felt really good to make this recording back in ‘Charm City’ and then share it with the world. ‘Believe!’”
