Although these early years gave Gates a musical awareness, it was while he was in the third grade that his musical abilities received nurturing. Mr. John Peyton, who was the Band Instructor at John F. Kennedy High School, was invited to speak to Gates’ class on music. Little did Gates know that Mr. Peyton knew his parents and who he was and what influences had already begun to shape his life. So, when he went around the class and asked each student what instrument they would like to play and Gates said “the flute” he quickly and emphatically said “No!” After several tries and several “Nos!,” Mr. Peyton said how about the saxophone. Gates simply said “okay.” Gates’ first saxophone was owned by Stu Gardner, who was the former music director for NBC’s “The Cosby Show.” After that, Gates began traveling with other students to the high school for group lessons with Mr. Peyton. At first Gates was “pitiful” but he stayed with it and Mr. Peyton worked with him staying after lessons. The others would tease him. This proved to be extremely motivating to Gates as he studied and practiced hard. He felt that he could talk to his horn and it wouldn’t talk back to him. His parents never had to force him to practice.
After the fifth grade, Gates went to Norrel Annex Middle School where he met Mr. Joe Kennedy. Mr. Kennedy was playing and touring with Gates’ Dad. He still had no idea why all of his instructors seemed to have connections with his dad and why they gave him so much attention. But it wasn’t until he was at Mary Scott Middle School that he got his first big break in “Jesus Christ Superstar.” He wanted to do well so he began to practice even more. His mother bought him a pinstripe double-breasted suit for the performance.

At Mary Scott, the seventh grade proved to be an unforgettable time. On Gates birthday that year, one of his happiest moments took place. When he came home from school that day, his mother told him to go upstairs, clean his room and make his bed. He couldn’t understand it because he knew that he had done both of those things before he went to school that morning. However, obeying his mother, he went upstairs and when he walked into the room, his eyes widened and his heart skipped a beat as he saw on his bed a brand new beautiful Bundy Selma alto saxophone. He cradled that horn as if it was his baby. He couldn’t let it go. He looked at his Mom and called her name. She said, “You don’t have to say a word.” She knew the joy in her son’s heart and that was all that mattered. Young Gates took good care of that horn. He would clean it and just sit there and watch it. He would not let it out of his sight, which was good because that was his Mom’s policy - “Do not let it get out of sight.” In fact, one incident occurred in which Gates left his horn on the school bus. As it drove away and Gates realized he had left it there, he ran after that bus screaming - “Stop the bus! Stop the bus!” The bus stopped and Gates got his baby (the horn). He had a new horn to play his solo on and a new suit. He was now ready for his first performance! While at Mary Scott, Gates met a fellow student, Arlo Allen, who would be his buddy and partner throughout his growing years. Arlo played the piano and trombone. Together, they formed their own combo. They had their first gig at the Richmond’s Children Hospital. Arlo and Gates would play Christmas carols going house-to-house during the Christmas season. After doing this, they had established their name in the community. Gates got more experience by going with his Mom to nightspots. A lot of the musicians would let him sit-in and would even give him money (five dollars). They started calling young Gates “Lil Boo Gates” after his father. Some of the local bands would call his parents and ask if Gates could play with them. Gates started gigging professionally at the age of 11 with a band called Mark IV. That was a large experience as he began to travel. Arlo was also in the band and he and Gates were their youngest members. In January 1974, Gates went to Henderson Middle School. His instructor there was Miss Worsham who was a French Hornist from Ft. Lee, VA.

Arlo and Gates were still together and began to play in high school marching bands and with various groups in the Virginia area. They also began to write and arrange music in their own combo as well as for the Henderson Jazz Band. After middle school, Arlo and Gates went to different high schools. Arlo went to John Marshall and Gates went to John F. Kennedy. Gates was very active at Kennedy as he participated in the sports program and was on the football, wrestling, baseball and cross-country teams. At Kennedy, Gates met up with his first instructor again, Mr. John Peyton. Gates participated in the marching band there and he was amazed to find out that a lot of his fellow music students already knew who he was. He participated in the All-City Jazz Band and made 2nd chair at Regionals. Second chair did not sit well with Gates so he was determined to make 1st chair the next year. He did and never let it go. Gates also participated and made 1st chair in All-State Band. He began to gig with top-notch area jazz artists such as Steve Kessler, Ernestine Jackson, John Peyton, Hugo Jackson, David Williams and Tuscan Jasper. Gates musical growth and confidence grew to an exciting new level. While in high school, Gates along with others formed a group called “Soul Zodiacs.” It consisted of piano, bass, tenor sax, alto sax and trombone. The band performed at a lot of the area colleges, hotel functions and community events. In his sophomore year at Kennedy, Gates had an instructor Demetrius Ewing for half of a semester who had a tragic accident. In hopes of inspiring him, the class made a tape and played it for him. However he sadly passed away. James “Plunky” Branch substituted for a while and taught the class a lot about the business of music. In his senior year, a new instructor took over, Mr. David Hamilton. At this point, everything changed for Gates. A lot of things musically took place. Gates’ Baseball Coach, Mr. Ethan Pitts recognized Gates’ gift and talent and was very supportive to his musical efforts. He allowed Gates to play his saxophone before every game to motivate the team. Mr. Pitts was also responsible for helping Gates to receive a full scholarship to Virginia State University (VSU).

Having graduated John F. Kennedy High School in 1978, Gates enrolled in Virginia State University that fall. Again, his reputation preceded him and many sought his friendship and fellowship. It was about this time that Gates met Bill McGee who did all the writing for the marching band. In his freshman year, Gates was elected to be the section leader for the 30 piece horn section. He also wrote arrangements for the horn section. Gates was known for his high-stepping marching style and his heart-stopping solos (one memorable - “After the Love Is Gone” by Earth, Wind and Fire). Many would await the Pre-game, half time and end of game shows just to catch a glimpse of James Gates. During the game, in the stands he would lead the horn section in jazz tunes that would serve to arouse the spirits of the spectators, cheerleaders and football team. Not only did he lead the section on the home side, he and the entire horn section would march over to the visitor side and entertain them with selections as well. It was at VSU where Gates received his nickname “Saxsmo.” His fellow classmates started calling him “Satchmo” after the great Louis Armstrong because of how he practiced. Being the person he is and respecting that there is only one “Satchmo,” he told them to change that to “Saxsmo” and the rest is history.
Although his time at VSU was brief, he proved to be one of their most memorable music alumni. After two years at VSU, Gates received a full scholarship to Berklee College of Music. This was a very difficult decision for “Saxsmo”, to leave friends, family and a comfortable environment. Although it was hard, “Saxsmo” was hungry and wanted to take advantage of this wonderful opportunity. So in 1980, Gates traveled to Boston, MA to enter the prestigious Berklee College of Music.

Life at Berklee proved to be very challenging and rewarding with lots of experiences whose lessons will last a lifetime. Gates met many fellow musicians there. Some of his classmates were Billy Bee Kilson, Branford Marsalis, Wallace Roney, Greg Osby, Kevin Eubanks, Makoto Ozone, Terri Lynn Carrington, Lalah Hathaway, Gene Jackson, Marvin “Smitty” Smith, Jeff Tane Watts, Alex Bugnon, Ron Savage and Donald Harrison. Some of Gates most memorable moments happened in Boston. At Berklee, he got a chance to see some of the top-notch jazz artists. Gates once stood in the pouring rain waiting to just catch a glimpse of Ella Fitzgerald. That wait paid off. He saw her and touched by his persistence and determination, she sang “Singing In The Rain” just for him.

Wally’s Cafe, called “the school” is a place where aspiring musicians can go and get playing experience. On weekends from 9 p.m. - 2 a.m., musicians could go and sit-in. Gates learned a lot of things going there and even got his own gig there in his junior year. His band was the house band for two years. One special night at Wally’s, Gates, Billy Kilson and Terry Connally (Organ) played for five straight hours without stopping. Kilson said “Gates call the next song! Call the next song! I can’t stop.” That night, a spiritual revelation took place.

Also in his junior year, he got an opportunity to play with the great Dizzy Gillespie. Those years at Berklee provided experiences and forged many lasting friendships. In 1984, “Saxsmo” graduated from Berklee and proudly accepted his diploma presented by Oscar Peterson (piano).

After graduation, Gates worked at places such as City Sports and Neiman Marcus to support himself while pursing his professional music career. It was hard in the beginning just like it is with everyone else trying to break into the business. Often times on a Monday, he would sit in his room feeling sorry for himself and mad with his roommate and best friend Billy Kilson because he (Billy) had a gig and he didn’t. Billy told him that he needed to stop feeling sorry for himself and do something about it. If he wanted a gig, then go out and get one. Gates heeded those words and took matters in his own hands. He got his first big gig at the 1369 Jazz Club with Walter Bishop, Jr. (piano), John Lockwood (bass), Ron McWater (bass) and Alan Dawson (drums). He played more gigs at 1369 jazz club and had such players as Steve Torey (trombone), Billy Kilson (drums), and Whit Brown (bass). At this point, the gigs started really happening and he began to play a lot with Walter Bishop, Jr. He began to play gigs with such notable artists as Billy Pierce, Kenny Garret, Andy McGee, and Roy Haines. Another memorable gig was with Walter Davis, Jr. (piano). After Walter Bishop wasn’t available for a gig, Gates called other piano players (Ronnie Matthews and Hilton Ruiz) but they were also unavailable. Bishop suggested Walter Davis, Jr. Gates called Davis who wanted to know if he (Gates) could play. Gates got irritated and asked him point blank “Can you do the gig or not.” Davis started laughing and finally said “Yes, I was just checking you out to see if you were serious.” That was the beginning of a great friendship.

With thoughts of spreading his wings, Gates soon migrated to New York City. Not long after he got there did Gates have an unpleasant and unfortunate experience. He was still playing with Walter Bishop and was leaving a rehearsal when he was jumped and beaten pretty badly. Gates stayed in New York a few more days and decided to move back to Richmond, VA. He took a job with Olstein Temp and then with Aetna Insurance all the while still gigging with Walter Bishop and others. At his mother’s urging he re-established himself in Richmond.

In Richmond, “Saxsmo” was invited to play in a band called “Friends,” now “F.R.E.N.S.” He got involved with The Virginia Commission of the Arts and taught private lessons at the G Clef Studio. Another memorable moment was when one day while working at Aetna, his mother called him and told him to call Walter Davis. He did and found out he had a gig with Art Blakey and the Jazz Messengers at Sweet Basil in New York City. But there was one thing; he had to get to New York “ASAP.” Upon leaving work that day, Gates drove straight to Port Authority in New York and met with Mark Whitfield and Walter Davis, Jr. He didn’t sleep after the gig. Wanting to get to know and fellowship with the musicians, he hung out with them and then drove straight to work in Richmond the next day. He believes that “you gotta do what you gotta do to get the job done.”

In 1990, his great friend and mentor, Walter Davis, Jr. passed. Gates immediately knew he had to do something special. With the help of former baseball coach, Mr. Ethan Pitts who contributed the first fifty dollars, he entered the recording industry and recorded his first CD “Yes I Can.” The track titled “God Open Doors” was dedicated to Davis’ memory.

All of this time, Gates had a very special dream. That dream was to play side-by-side with his dad, James “Boo” Gates, Sr.; after all, the elder Gates is a well-known musician himself. Gates, Sr. is a tenor saxophonist. He has performed jazz, blues and R&B extensively for over 20 years. He has played with local bands, which provided back up for such noted stars as Bill Doggett, Patti Labelle, Esther Phillips, Chuck Berry, Curtis Mayfield and numerous others. Gates, Sr. formed his own band called “Boo Gates and the Blue Notes.” This group featured Stu Gardner. Although “Boo” Gates retired in 1970, he came out of retirement to play with his son in March 1992. Gates, Jr’s. dream was realized, as they stood side-by-side on the bandstand for the very first time. Father and son continue to play together until the untimely passing of James Gates, Sr. If you had a chance to watch this pair, it was easy to see the love, passion and respect that they both had for each other as well as for the music.

“Saxsmo's” most recent activities are numerous. He was the founder of the jazz program at the Governor’s School for International Studies where he taught for nine and a half years. He has taught at Virginia Union University and J. Sargent Reynolds Community College and the University of Richmond, and the after school program called The Jazz Academy, which was sponsored by The Richmond Jazz Society. He has played various festivals including the Hampton Jazz Festival with Billy Childs. He has also played with Roberta Flack at the Carpenter Center and opened for Ellis Marsalis. He performed at the Apollo and won their talent showcase three times. He has toured Japan and the United States with Guitarist - Larry Carlton, thanks to his best friend Billy Kilson. He is frequently the featured soloist with the classic R&B group The Main Ingredients. The group features long time friend, fellow Virginian and colleague Carlton Blount as lead singer.

To add to his list of accomplishments, in 2001, Gates released his second solo CD entitled “C’Mon Over To My House.” This CD was produced by Hannon Lane and Saxsmo, with horns arranged by his friend smooth jazz trumpeter, Bill McGee and his producer Hannon Lane. Most of the songs are excellent original compositions by Gates and Lane and include two vocal selections featuring Carlton Blount (The Main Ingredient)and Erica Willis. The musicians on this CD are the 804 Jazz Allstars, the best that Virginia has to offer and many are nationally recognized professionsals. Such great talents like Carl Lester-El on Bass (Ramsey Lewis,) Baron Tymas, Hannon Lane (Roy Ayers,) Bill McGee (The O'Jays, Evelyn Champagne King, The Sugarhill Gang, Angie Stone) Fabian Lance Dickerson, Kevin Davis (Ban Caribe,) Nate Smith (Michael Jackson and Teddy Riley,) Kevin Simpson, Kevin Christopher Teasley (BET,) John Scott, Matthew Steele, Dr. Weldon Hill, Alan Parker and Gregory McCallum. When one listens to the CD "C'Mon Over To My House," they will definitely hear that Gates lives up to his motto - “Play like there is no tomorrow.” The CD "C'Mon Over To My House," goes straight to the soul. This project is a labor of love, drenched with the cherished memories of his mother, Della Mae Gates who was a strong source of inspiration and determination. Her heart and home were always open to others; “C’Mon Over To My House” is dedicated with much love to her precious spirit.

In 2008, It's Time to move to the next level with the latest CD by James Saxsmo Gates - It's Time. Released in February 2008 is a ten composition CD and is the next chapter in the musical life of James "Saxsmo" Gates. "It's Time" reflects the changes that have taken place in the life of Saxsmo as well as the change in attitude which can be heard throughout each track on this incredible CD. This focused and driven attitude can especially be heard on the songs "Unlimited Chances", "A Change Within", "It's Time", "I'll Write a Song For You", "I Know What God Has Done For Me"," Ain't No Stoppin' Us Now" featuring Fred Wesley, "Genesis", "Sexophone" featuring Bill McGee and the Luther Vandross song "I'd Rather".

"Unlimited Chances", written by Saxsmo, expresses his thankfulness to God for giving him another chance to live life and create music. During the process of recording this CD, Saxsmo was in a major car accident. His father cared for him for over two months, which allowed him to recover more quickly. This accident along with other events caused Saxsmo to realize how blessed he is to be on this earth and to be even more passionate in his resolve of completing "It's Time". When recording "Unlimited Chances", track #5, each musician (Weldon Hill, Billy Williams, & Michael Hawkins)collectively played with passion and emotion as if they'd all had the same experiences as Saxsmo.

"I'll Write a Song For You", track #4, arranged by Hannon "Juice" Lane, has a slightly different spin on it from the original. Once Saxsmo heard the phenomenal arrangement that Hannon had created, it opened his mind to an excellent idea. Saxsmo's late father was also an incredible saxophonist. While his father was living, Saxsmo shedded and performed with his father on numerous gigs. He remembered exactly how his father played and could play just like him. Saxsmo decided to include his father as a tribute to him on the song "I'll Write a Song For You". Parts of the song are played from the heart as only Saxsmo would and others are played just like his father would play. This song is truly enjoyable and is a pleasure to listen to.

"I'd Rather" track #7, a hit song recorded by Luther Vandross, is a song that Saxsmo wanted to record since first hearing it. Hannon "Juice" Lane did a hell of a job arranging this song as well. Saxsmo and Hannon were very excited about recording this song which included a vital instrumental section, live strings. The vamp out section of the song is particularly special to Saxsmo. When recording this portion of the song, Saxsmo had great difficulty in figuring out exactly what to play. After several attempts, God spoke to Saxsmo and said "Don't think about it. Play from your heart. I've got the rest." It was like magic! The notes immediately began to flow through Saxsmo's horn to create an amazing experience that can now be heard on this CD.

"Genesis (In the Beginning...),track #2, created by Ellis Tucker and Saxsmo was the first song created for this CD. Saxsmo heard this track from Hannon several years ago and instantly fell head over heels in love with it. Hannon and Saxsmo begged Ellis for the right to use this song and separate tracks for months. After Hannon and Saxsmo received the official O.K. from Ellis to use the track they excitedly began work on the song. Saxsmo especially loves this song because it reminds him of being a young boy, thinking of the awesome power of God in the creation of this world. Ellis created a marvelous track and I'm sure you'll agree.

"Ain't No Stoppin' Us Now", featuring the former music director for the late James Brown, Fred Wesley, has a very interesting story behind it (track #6). Saxsmo was driving home from teaching school, and heard the original when pulling into the "WaWa" gas station. He immediately began to laugh and holler and called his boy Hannon "Juice". Saxsmo excitedly told Hannon what he was listening to and told him that "Ain't No Stoppin' Us Now" should be their next cover song. Hannon laughed and couldn't stop. He told Saxsmo that he'd always wanted to do the song because he knew the writers and people who were affiliated with the record company in Philadelphia. Hannon and Saxsmo began to work on the song that very day. While during a meeting in the studio, Saxmo told Hannon that they needed a national recording artist to participate on one of the songs. It was then decided that "Ain't No Stoppin' Us Now" would be that song. Saxsmo suggested Fred Wesley and Hannon agreed. Hannon along with Saxsmo's other producer Bill McGee, collectively made the phone call that day. Fred Wesley responded by agreeing and a meeting was set in December of 2006. During the meeting, they agreed on calling Fred Wesley when they were ready to record. The recording took place during the summer of 2007 in Bill McGee's studio. Live strings were included in the recording as well as Hannon's extremely gifted son Brandon Lane. Brandon played trombone and bass for this song. He recorded the bass track in one take which was off the hook, especially considering that he is only 15 years old. My man Fred drove from Manning, South Carolina and arrived at the studio at 8:30a.m., two and a half hours early. The session start time was 11:00a.m. During the time before the session began Fred shedded, which was another big lesson for Saxsmo. Fred also recorded the melody part and solo in one take as well as background lines that he helped to arrange on the spot. Brandon and Hannon completed the background horn lines on trombone.

It's Time is available for sale through CD BABY and can be downloaded through all the major download sites including ITUNES and RHAPSODY. You can also check out SAXSMO on MY SPACE. 2008 is the year that Saxsmo has determined that It's Time to take this music to the next level. - ENJOY!