Educator and Musician, Des Moines, Iowa, USA

A performer, an educator; a versatile musician.  He is heard regularly performing in Des Moines, Iowa with EnglishCourtney Krause, and Scot Sutherland.  

His diversity as a performer, skilled in both classical and jazz repertoire, in addition to being an accomplished flutist, provides an excellent model for the skills necessary to succeed in the ever-changing music industry. 

Greg Banaszak - Saxophone Journal, 2001

A graduate of Northern Kentucky University (B.M.) and Kent State University (M.M.).  Notable awards include 2006 & 2007 ASCAPlus Award and 2015 Iowa Rock and Roll Hall of Fame inductee.

Tommy’s success is linked to his two primary teachers: Greg Banaszak (international soloist) and Bob Reynolds  (John Mayer, Snarky Puppy).  He models both of their teaching styles in his own classroom at Urbandale High School, where he serves as director of the Wind Ensemble, Jazz One, Musical Pit Orchestra, and the Urbandale J--Hawk Marching Band.  

Prior to Urbandale High School, Tommy taught at Muskingum College, Ohio University-Zanesville, Kent State, Hiram College, Cincinnati School for the Creative and Performing Arts, College of Mount St. Joseph, South-Western Community College, Central College and Woodward Academy.​

His diverse musical palette stems from his collaboration with a variety of musicians.  Never restricted by a particular genre, Tommy has performed in bands, orchestras, and ensembles both locally and internationally.

He proudly endorses TM Custom tenor saxophones designed by Randy Jones at Tenor Madness.​​​

Learn more here

Listen to the new EP at

The standout tracks on the EP are the interconnected pair of “Mona Lucy” and “Directions.” The title track begins a surf-rock suite that’s deftly driven by Tomlinson’s impossibly tight drumming. The track sort of sounds like if the Trashmen hired some disgruntled jazz players to stretch out their arrangements. It’s phenomenal, and fading into the instrumental “Directions,” it finally gives the quintet the space to stretch out. The horns are distant in the mix here, shifty, dreamy. (They sound like they were recorded one county away from the microphone.) There are a myriad of tempos and tonalities on this pair of interconnected tunes, and I can only imagine the power these must have bellowing from the stage.

Little Village issue 298  

Album Review and Q&A: ENGLISH — ‘Mona Lucy’  

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