This talented multi-instrumentalist grew up with a neighborhood full of musicians that included vibraphonist and composer
Terry Gibbs, tenor saxophonist
Al Cohn, and drummer
Tiny Kahn. While his career in the studios and as a member of a variety of top-flight dance bands suggests that there isn't much he can't do,
Beckenstein has admitted that this wasn't always the case. On his first professional job with the combo of
Johnny McGhee,
Beckenstein made so many flubs on the baritone saxophone part that he was told to hitch his tent elsewhere; ironic, since that horn is considered the easiest of any in the reed family. Adding flute and piccolo to his bag of tricks and garnering a reputation as an excellent clarinet soloist,
Beckenstein got into a list of bands in the '40s and '50s that included Lew Gray,
Lee Castle, Richard Himber, and
Bobby Sherwood.
By the '60s he had become well-established in the studios of New York City and was more than able to handle the diverse sounds which would be concocted in subsequent eras. His recording career has included soundtracks to films and Broadway shows and projects with singer/songwriters such as
Janis Ian and
Phoebe Snow. He has played on Latin, bossa nova, and funk records and was often part of the crew that arranger and producer
Don Sebesky hired to create his lavish wedding-cake jazz productions. While he is sometimes used simply to create background detail, some leaders make use of a particular instrumental talent; for example, trombonist
Urbie Green featured
Beckenstein's fine alto sax work in a swinging context, while
Ralph Burns used his flute playing as an attractive touch on several albums featuring vocals. ~ Eugene Chadbourne