Ernie Krivda is now in his fifth decade as a jazz performer. He is acknowledged by both his peers and jazz critics as one of the world's great tenor saxophone players and one of the jazz worlds most unique artists.

A product of a musical family, Krivda received his first clarinet and accompanying instruction from his father (Lou) at age 6. His first professional playing was done in polka bars at age 13. He received his first saxophone (alto) at 16 and began hanging out in the, then flourishing, 105th St jazz scene on Cleveland's east side. He cut his teeth at the jam sessions at the Esquire Bar and Club 100 among the leading players on the Cleveland scene. Players like tenor men Joe Alexander, Weasel Parker, Dave O'Rourke and organist Eddie Baccus were teachers in the demanding school that was the "musical alma matter" for the young saxophonist.

At 18 Krivda got a tenor sax (always the horn of his dreams) to play his first road gig with the Jimmy Dorsey band under Lee Castle. He returned to Cleveland in 1964 to study at the Cleveland Institute of Music and Baldwin Wallace College. During the 60’s he made his way playing in the house band at Leo’s Casino for the Great Motown acts such as The Temptations, The Supremes, The Four Tops, Smokey Robinson, and Martha and The Vandellas. He also played on recording sessions for groups like The Ojays, and Terry Knight (whom he also toured with).

It was in the late 60’s that Krivda began significant associations with former jam session mentor Organist Eddie Baccus (as a member of his quartet), guitar legend Bill Dearango and Pianist / Composer Bill Dobbins. Krivda had begun playing flute and Soprano Sax which he played on Dobbins Big Band record Textures. It was the first Jazz recording which featured his solo work and brought him to the attention of Jazz writers like Bob Rusch (of Cadence Magazine) who would prove to be an important part of Krivda’s future.

In the early 1970’s he became the leader of the house band at the Smiling Dog Saloon, and it was in this environment that his own legendary status began to take shape. Sharing the stage with Chick Corea, Herbie Hancock, Elvin Jones and many other great names of jazz, his markedly original stylings and stunning performances inspired the late jazz critic Bernard Larait to write, “Ernie Krivda should be ranked with the top names in jazz”. Among the heady company that heard the young saxophonist at the Smiling Dog was the great Miles Davis who praised him in an interview with jazz writer Williard Jenkins and set in motion efforts to have Krivda join his band. Krivda was not interested and instead followed the advice of another Smiling Dog regular, the great Alto Saxophonist Cannonball Adderley who had recommended him to Quincy Jones.

Krivda played with Q’s last touring band and in 1976 moved to New York City and within 6 months had a recording contract with Inner City Records. A series of recordings followed that received great critical acclaim with reviewers calling him “a major talent” and “one of the most important saxophonists of the decade”. One of the writers was Bob Rusch of Cadence Magazine and owner of Cadence Jazz Records.

In the 1980’s Krivda set up operations in Cleveland (“where I could be me”) and continued to perform with his own groups. Touring with a quartet that prominently featured his own compositions, his groups appeared at the Kool Jazz Festival, The North Sea Festival, and Carnegie Hall. After trying his hand at running a record company, (North Coast Jazz) Krivda began a working relationship with Bob Rusch and Cadence. The relationship has lasted over 20 years and 10 albums for Cadence and CIMP records, has firmly established this artist’s legacy among the serious followers of the music.

In the 1990’s Krivda continued to add to his discography with critically acclaimed recordings for Koch International and producer Donald Elfman. It was during this time that he founded The Fat Tuesday Big Band which has become something of a phenomenon in Northeast Ohio. He continued to tour including concerts in LA, Chicago, New York City, and Vienna. In this decade he was active in education, as the Artistic Director of The Lakeland Jazz Festival (1998-2002) and as a touring clinician for King and Yamaha Instruments. He became a charter member of the Tri C Jazz Studies Faculty where he teaches the improvisation course (of his design) and directs the student and faculty jazz ensembles.

Krivda maintains a high profile as a composer, with many fellowship awards to his credit. He continues to be the subject of features and articles in international publications such as Down Beat and Jazz Times Magazine and has won countless Cleveland Awards, most recently the prestigious Tri C Jazz Festival Jazz Legends Award.

He continues to tour and record with a group that includes guitar great Bob Fraser and the talented up and coming Cleveland trumpeter Dominic Farinacci.

Among Krivda’s favorite performances was a Tribute to Stan Getz Concert at Cleveland’s hallowed Severance Hall, home of The Cleveland Orchestra, at which Krivda played Eddie Sauters FOCUS. It was the first performance of this storied piece since Stan Getz played it in 1962. It was recorded and released as part of a multiple CD release project with Cadence/CIMP Records in 2003-2004.