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Meet Zishi Liu
Zishi Liu is a Boston-based saxophonist and music curator originally from China. He made history as the first Chinese artist to play at Boston’s famed Regattabar in collaboration with Blue Note Jazz Club in 2025. His work has been featured by WGBH, contributing to the broader narrative of Asian representation in jazz.
His music explores the tension between familiar and foreign themes, drawing inspiration from Coltrane’s later works and the evolving sounds of ’90s Asian pop music. Liu’s bold fusion of styles has led to collaborations with internationally renowned musicians such as
Noah Preminger
saxophone, tenor
b.1986
”
data-original-title=”” title=””>Francisco Mela. He has performed at prestigious venues across the U.S. and Asia, including the House of Blues (U.S.A.) and Meeting Jazz Club (China).
As staff at Longy School of Music in Cambridge, MA, Zishi represented Longy in 2024 as one of three delegates visiting four leading music conservatories in China, where he gave masterclasses and performed. Previously, he received funding from Roland to lead an Asia tour, performing and teaching at universities and cultural centers.
Instruments:
Tenor saxophone, Soprano saxophone
Teachers and/or influences?
George Garzone
saxophone, tenor
b.1950
”
data-original-title=”” title=””>George Garzone and Noah Preminger,
John Coltrane
saxophone
1926 – 1967
”
data-original-title=”” title=””>John Coltrane,
Paul Motian
drums
1931 – 2011
”
data-original-title=”” title=””>Paul Motian, and ancient Chinese music highly influenced me.
I knew I wanted to be a musician when…
I was studying Environmental Science, but I didn’t enjoy it. The problem was I also didn’t know what else I wanted to do. I felt lost, unsure of what my true passion was. One day, I came across Steve Jobs’ commencement speech at Stanford, where he talked about the importance of following your heart and continuing to search until you find what you truly love. His words stuck with meyour heart will tell you. But at that moment, I still had no idea what mine was saying.
As part of my non-science requirement, I was supposed to register for a guitar class. But when I tried to sign up, the class was full. Instead, they placed me in the Big Banda term I had never even heard before. I had no idea what to expect, but from the moment I stepped in, something clicked. The energy, the swing, the sound of a full horn sectionit was unlike anything I had ever experienced. That moment changed everything. I fell in love with jazz, and the rest is history.
Your sound and approach to music
To my ears, Coltrane’s sound carries a spirit that feels deeply connected to Chinese philosophy. I hear a sense of Zen, meditation, and introspectionmuch like the ancient Chinese music and instruments, especially the guqin. But within that serenity, there is also wildness, raw power, and a profound sense of melancholy.
When I play, I strive to channel that balanceblending deep reflection with unrestrained emotion, discipline with spontaneity. My sound is rooted in tradition but always searching, always evolving.
Your teaching approach
Every student is different, and I take pride in recognizing what works best for each individual. My goal is not just to teach but to truly understand my studentsguiding them in a way that aligns with their unique strengths and challenges. I believe in teaching with care and respect, creating an environment where students feel supported and inspired. Helping students discover their own voice and passion for music is the most rewarding part of what I do.
Your dream band
Building a band is like building a relationshipit develops gradually over time. I believe in connecting with musicians first, playing together, and seeing if there’s a natural chemistry. If we inspire each other musically and personally, that’s when a real band begins to take shape.
I’ve played with many pianists, but I’ve worked the most with my dear friend Harold. Not only is he an incredible musician, but he’s also a great human beingsomeone I trust both on and off the bandstand.
If I had the chance, I would love to play with
”
data-original-title=”” title=””>Ron Carter and
”
data-original-title=”” title=””>Brian Blade. Their depth, feel, and musicality are unmatched, and sharing the stage with them would be an unforgettable experience.
Road story: Your best or worst experience
While I was an undergraduate at Berklee, I received a full-ride sponsorship from Roland for an Asian tour in 2019. Our final stop was Wuhan in September, and everything about the experience was incrediblethe concerts were amazing, the audience was warm and welcoming, and the food was unforgettable.
But the trip wasn’t without its dramas. Our pianist forgot to bring his old passport with his U.S. visa stamp, so he was unable to board the flight at the gate. Meanwhile, our bassist fell in love with a Roland staff member and became so emotionally overwhelmed that it nearly derailed our last show. And then, of course, just a few months later, the world shut down with the onset of COVID-19.
Looking back, I’m not sure if it was the best or worst experiencemaybe a little of bothbut one thing is for sure: it was unforgettable.
Favorite venue
Back when I was playing in a GB (general business) band, we traveled all around New England for gigs. One particular venue stands out, though I can’t quite remember whether it was in New Hampshire or Maine. It was a stunning barn-style venue, surrounded by nature, on a perfect summer night. The food was incredible, and the catering staff was warm and welcoming.
I remember us all laughing around the table before the show, enjoying the moment. When we started playing, the audience was fully immerseddancing, celebrating, and just living in the music. For me, as a Chinese musician, it was a rare moment of feeling deeply connected to American life and culture. I was the only Asian person in the band and, most likely, in the entire wedding crowd, but in that moment, I felt a true sense of belonging.
Your favorite recording in your discography and why?
While I have many favorite recordings, a few albums have had a profound impact on me:
Dexter Gordon
saxophone, tenor
1923 – 1990
”
data-original-title=”” title=””>Dexter Gordon‘s Go (Blue Note, 1962),
Sonny Rollins
saxophone
b.1930
”
data-original-title=”” title=””>Sonny Rollins‘ Saxophone Colossus (Prestige, 1957), and John Coltrane’s Coltrane’s Sound (Atlantic, 1964).
I’ve learned so much from transcribing solos from these records, and beyond that, I simply love listening to them. The phrasing, the tone, the storytelling in their improvisationit’s all deeply inspiring to me.
What do you think is the most important thing you are contributing musically?
Bridging cultures through jazzbringing elements of Chinese musical traditions into the jazz idiom in a way that feels natural and meaningful.
Did you know…
I first started playing the saxophone when I was young because Kenny G was a huge sensation in Asia, and my mom loved his music. However, there were no proper saxophone instructors in my city, so I ended up studying with a clarinet teacher and playing classical music instead.
The rigid structure of classical training, combined with my lack of connection to the instrument, made me resent the saxophone. After just six months, I quit and didn’t touch it againuntil college, when I rediscovered it on my own terms. That second chance changed everything.
The first jazz album I bought was:
Maria Schneider
composer / conductor
”
data-original-title=”” title=””>Maria Schneider‘s Evanescence (Enja, 1994)
Music you are listening to now:
Stevie Nicks: Bella Donna (Modern Records, 1981) (featuring “Landslide”)
Paul Motian Band: Garden of Eden (ECM, 2006)
John Coltrane: Coltrane’s Sound (Atlantic, 1964)
”
data-original-title=”” title=””>Brian Blade & The Fellowship Band: Landmarks (Blue Note, 2014)
Desert Island picks:
John Coltrane: Coltrane’s Sound (Atlantic, 1964))
Sonny Rollins: Saxophone Colossus (Prestige, 1957)
Jay Chou: 叶惠美 (Ye Hui Mei) (Sony, 2003)
Antonio Carlos Jobim
piano
1927 – 1994
”
data-original-title=”” title=””>Antonio Carlos Jobim: Wave (A&M, 1967)
Radiohead: Pablo Honey (Parlophone/Capitol Records, 1993)
How would you describe the state of jazz today?
Jazz is more diverse than everit’s expanding, crossing boundaries, and integrating different cultural influences. The challenge is keeping the artistry strong while navigating the modern industry.
What are some of the essential requirements to keep jazz alive and growing?
More support for young musicians, more venues that prioritize live jazz, and more global collaboration. Also, audiences need to be engaged through storytelling and cultural connection.
What is in the near future?
I will be headlining at Boston’s famed Regattabar in collaboration with Blue Note on February 1, 2025, making history as the first Chinese jazz musician to perform at this prestigious venue. Ahead of the concert, I’ll be discussing the project on WGBH Radio. Then, just a week after the show, I’ll be heading into the studio to record with the incredible Francisco Melaan exciting step in my musical journey.
What is your greatest fear when you perform?
That the music falls apartwhether due to miscommunication, lack of connection, or simply an off night. Jazz is about spontaneity and interaction, but when that synergy isn’t there, it can be unsettling.
What song would you like played at your funeral?
John Cage’s “4’33”
What is your favorite song to whistle or sing in the shower?
I am thinking a lot during the shower.
By Day:
I work as a staff member at the Longy School of Music, Cambridge, MA
If I weren’t a jazz musician, I would be a:
Businessman
If I could have dinner with anyone from history, who would it be and why?
John ColtraneI’d love to ask about his spiritual approach to music and how he pushed himself creatively.
If I could go back in time and relive an experience, what would it be?
Probably my first time playing in a large ensemble at Berklee, performing the music of Fela Kuti. Five minutes before the show, there was no audience in sightwe were nervous and disappointed, fearing we’d be playing to an empty room. Sensing our mood, our professor, Bob, told us, “We’re going to play like it’s a full house, no matter what.” That simple statement lifted our spirits, and we gave it everything we had. As we started playing, people began to arriveslowly at first, then more and more. By the end of the show, the room was packed, and the energy was incredible. It was a powerful lesson: play with conviction, no matter the circumstances, and the right energy will follow.
What’s the song or piece of music you wish you could hear again for the first time?
Oscar Peterson
piano
1925 – 2007
”
data-original-title=”” title=””>Oscar Peterson‘s “Hymn to Freedom”
The first time I heard this piece, it was deeply movingits simplicity, soul, and powerful sense of unity left a lasting impression. I wish I could experience that feeling again, hearing it with fresh ears, as if for the very first time.
Do you have a favorite cuisine?
I’m a foodie and have a serious love for spicy food! And I don’t just mean a little heatI mean really spicy. Give me habaneros for breakfast, and I’ll be happy. I’m always on the hunt for the spiciest dishes, whether it’s Sichuan hot pot, Thai chilies, or anything that makes most people break a sweat.
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