We are four musicians from various parts of the globe who met in Cuenca, Ecuador. Pedro Pedrosa is a guitarist from Spain. Freyler López, from Venezuela, plays 6-string electric bass. Santiago Cargua on percussion is from Ecuador, and woodwind player Su Terry is from New York.

We decided on the name Cruce de Caminos Project because it means

We are four musicians from various parts of the globe who met in Cuenca, Ecuador. Pedro Pedrosa is a guitarist from Spain. Freyler López, from Venezuela, plays 6-string electric bass. Santiago Cargua on percussion is from Ecuador, and woodwind player Su Terry is from New York.

We decided on the name Cruce de Caminos Project because it means "crossroads." Cuenca, Ecuador is a crossroads for many folks, not only musicians. It is a place full of magic where anything can happen.

Cruce de Caminos Project gave us the opportunity to combine our expertise in various genres: Jazz, Flamenco, and Latin grooves. We played many venues while we were together–clubs, theaters, and private concerts. We are thrilled to be able to offer this recording to our fans!

Those who meet at a crossroads are traveling their individual paths. They may never meet again, at least not in this life. Pedro Pedrosa has returned to Spain. Freyler López has gone back to Venezuela. Su Terry is still in Ecuador but she's moved out of Cuenca, to the countryside. Santiago Cargua remains in Cuenca for the time being.

Pedro is organizing a tour for the band in Spain. So the next crossroads for us may be in Madrid....

In the meantime, please enjoy this music, created with love and recorded with passion. We are looking forward to the next crossroads; maybe we'll see you there.

This recording was made as a response to the events of September 11, 2001. Everyone in New York, not to mention the world, was in shock. I personally could not listen to any music that had more than one instrument or voice. After listening to solo music for months (Mark Feldman, Iva Bittova and others) I decided to make my own solo album.

Why

This recording was made as a response to the events of September 11, 2001. Everyone in New York, not to mention the world, was in shock. I personally could not listen to any music that had more than one instrument or voice. After listening to solo music for months (Mark Feldman, Iva Bittova and others) I decided to make my own solo album.

Why "Pink Slimy Worm"? When instrument maker Adolphe Sax invented the saxophone around 1846, he thought the orchestral composers of the day would begin to include it in all their scores. This was not to be. During its infancy only a few composers attempted writing for the saxophone, and many scoffed at it. One famous composer is said to have referred to the saxophone as a 'pink slimy worm', perhaps alluding to the tint of the brass, as well as the serpentine shape and unusual timbre of the instrument.

The saxophone has been my conduit in learning not only about music, but about many aspects of life. It often seems as though my work with the instrument has been a microcosm of all the joy and grief I've ever experienced. But joy and grief, beauty and bleakness, do not belong only to one person; they are shared by many.

Art, science, philosophy, music, people, and the world around me all bestow impressions that are filtered through me, ending up in my compositions and improvisations. Perhaps you will recognize some of your own impressions of life in these melodies and textures, as you follow this single thread of saxophone notes winding its way through a very small piece of a mysterious tapestry. --S.T.

This was Su Terry's very first record date as a bandleader. Clark Terry was the special guest on trumpet. The date was produced by the legendary Helen Keane, who worked with pianist Bill Evans among many other greats. The drummer was Charli Persip, another legend, who played with Dizzy Gillespie, Billy Eckstine and countless others.

The date took

This was Su Terry's very first record date as a bandleader. Clark Terry was the special guest on trumpet. The date was produced by the legendary Helen Keane, who worked with pianist Bill Evans among many other greats. The drummer was Charli Persip, another legend, who played with Dizzy Gillespie, Billy Eckstine and countless others.

The date took place on two days in July of 1993 during a massive heat wave in New York City. The original analog tapes were lost. The recording was rescued by the archived digital files.

Clark Terry was unable to read any music for the date due to his diminishing vision. In order to make it easy for him, Su arranged the 3 tunes he played on so that she and trombonist Clark Gayton played the harmony parts around Clark Terry's melody part.

CT used to call Su "Sis" although they are unrelated. They had many opportunities to perform together over the years, and CT graciously agreed to be the special guest on Su's first recording as a bandleader.