Urban Modes
Music and Life in New York

Also published on Sequenza 21


Audibles, a new CD from GIA Wind Works

American composer Steven Bryant has recently contributed a beautiful new piece to the piano-and-winds repertoire. Commissioned by pianist Pamela Mia Paul, Bryant's Concerto for Piano was recorded for the GIA Wind Works label, as part of a new disc entitled Audibles. The performers are Paul and the North Texas Wind Symphony, conducted by Eugene Migliaro Corporon.


Steven Bryant

Concertos for piano and wind instruments are a rare breed. The twentieth century produced only a handful of them, the most famous being Stravinsky's Concerto for Piano and Wind Instruments (1923-24, revised 1950). Shortly after Stravinsky, Colin McPhee wrote Concerto for Piano and Wind Octet in 1928. In 1943 Henry Cowell composed Little Concerto, for piano and band, and George Perle contributed Concertino for Piano, Winds, and Timpani in 1979. More recently additions to the genre include the Norwegian composer Mark Adderly's Triptych for Solo Piano, Orchestra of Winds and Percussion (1988), and Concerto for Piano and Wind Instruments by Kevin Volans (1995). Bryant's compelling work is likely to become a well known member of this lesser known genre.


Pamela Mia Paul

Bryant explains that the two contrasting movements of the concerto are constructed from the same set of descending dyads. The first movement begins in wistful, contemplative simplicity, slowly unfolds, reaches towards its triumphant and spirited zenith, and then recedes again. The arc structure of the movement is elegantly punctuated by a shift from descending to ascending motion at the halfway point. The second movement, with its running sixteenth notes and playful syncopated rhythms, is a display of virtuosity for soloist and ensemble alike. In both movements Bryant uses the concise material to develop music that is thematically cohesive, rhythmically compelling, and filled with timbral beauty. Paul's performance is clear, powerful, and supportive of the compositional structure.

Also included on the disc are compositions by Brett William Dietz, Donald White, Jess Turner, Francisco Jose Martinez Gallego, Carter Pann, and Justin Freer. Audibles is available on Amazon and also at www.giamusic.com.

Listen to Steven Bryant's Concerto for Piano

Lynn Hill performs in Holding It Down
Photo by Marc Millman Photography

Also published on Sequenza 21

The most recent collaboration of composer/pianist Vijay Iyer and poet Mike Ladd, entitled Holding It Down: The Veterans' Project, received its world premiere last week (September 19-22) at The Harlem Stage Gatehouse. This multimedia work, epic in scope, yet poignant in its emotional nuance, is the result of three years of interviewing and collaborating with veterans of color from the recent wars in Iraq and Afghanistan. Holding It Down also marks the culmination of a trilogy of multimedia works by Iyer and Ladd, the others being Still Life with Commentator (2006) and In What Language (2003). Each of the three works examines a different aspect of post-9/11 America, but all three respond to the fear and injustice brought on by what Iyer and Ladd eloquently describe as the "insidiously racialized Global War on Terror."

Iyer's through-composed score consisted mostly of highly sensitive and imaginative settings of the poetry of Ladd and two veterans, Maurice Decaul and Lynn Hill, punctuated by moments of virtuosic improvisation by Iyer and members of the ensemble. The poems (performed by their authors) were moving, powerfully honest artistic responses to war and the challenges of coping with trauma. Tim Brown's video design contributed an evocative visual counterpoint, and the video interviews, conducted and edited by the project's director, Patricia McGregor, were particularly well timed and interesting. The ensemble, which consisted of Iyer (piano, laptop), Guillermo E. Brown (vocals, electronics), Liberty Ellman (guitar), Okkyung Lee (cello), and Kassa Overall (percussion), provided an intricate, colorful, and at times surreal musical mindscape. One unforgettable moment was Overall's gut-wrenchingly beautiful drum solo about two thirds of the way through the piece.

The presentation of a continuous 80-minute piece that brings combines music, poetry, video, and drama is no easy task. Careful attention must be given to the balance and interplay of the various media, and the dramatic flow and experiential continuity. Credit must be given to director Patricia McGregor, who forged the elements of this work into a seamless and deeply moving journey. With the exception of two moments when the balance between the ensemble and voices could have been handled better, the production was basically flawless.

With Holding It Down Vijay Iyer and Mike Ladd have offered a model of how artists can present social commentary that is profound yet unsentimental; complex yet focused; provocative yet inviting. While so many multimedia projects these days hurt the genre by dilluting their own impact, Iyer and Ladd have created one in which each medium strengthens the whole. On December 1, 2012, these artists will appear again at The Harlem Stage Gatehouse for a new piece called Sleep Song, in which they will focus on the populace of nations affected by war. Collaborating artists for Sleep Song will include the Iraqi poet Ahmed Abdel Hussein, oudist Ahmet Mukhtar, and guitarist Serge Teyssot Gay.

After seven years in ETHEL, I am moving on! I decided back in October that it was time for me to do something new. I will now be focusing on my composing, solo projects like Journaling, and a handful of really stimulating collaborations.

Although I feel sad, especially after enjoying such a brilliant final season together, I am also thrilled to be clearing space in my life for new artistic endeavours. My work with ETHEL has been a deeply meaningful part of my life, and I look forward to keeping in touch with them and watching the group continue to grow and flourish.

At the present moment ETHEL is very busy auditioning a number of excellent musicians, and they are not yet ready to make a public announcement about their plans to replace me. Stay tuned to www.ethelcentral.com for news.

Thanks for your support and understanding!

Ittai Shapira's new CD, released this month, includes his new violin concerto, to be premiered on April 20th.


Ittai Shapira is best known as an internationally acclaimed soloist with an impressive list of collaborators that includes some of the world's finest conductors and orchestras. He is a champion of contemporary music, having premiered concertos by many of todays most renowned composers, including Kenji Bunch, Shulamit Ran, Theodore Wiprud, Avner Dorman, and Dave Heath.

While still a violin student years ago, Shapira studied analysis and composition with Mark Kopytman. He loved composing, but his performance career soon grew too busy to allow for any other callings, so he kept his creative spark alive by writing his own cadenzas to the standard violin concertos. Over the last decade, his many collaborations with composers have reconnected him to the creative process and rekindled his early passion for writing music. Since 2008 he has written two violin concertos, as well as a series of fiendishly challenging solo violin caprices.This month the British label Champs Hill Records released a CD of Shapira's two violin concertos, Concierto Latino (2008) and The Old Man And The Sea (2011), as well as his Caprice Habanera (2010).

The most recent of these works, The Old Man And The Sea, is an exciting, larger-than-life piece in the grand tradition of the virtuoso violin concerto. Inspired by Earnest Hemingway's classic novel of the same title, the work is full of soulful melodies, dramatic orchestration, and dazzling technical passages, all delivered on the recording with Shapira's smooth tone and powerhouse virtuosity. While the piece keeps a close programmatic relationship to the novel, it also stands on it's own as a compelling work, and a substantial contribution to the violin repertoire. The recorded performance is with Neil Thomson and the Royal Liverpool Philharmonic Orchestra.

In a recent conversation, I asked Shapira about his compositional process for The Old Man And The Sea. He explained that the idea first came to him while on a concert tour in 2008, when he found himself based in Key West, Florida, for several days. Not surprisingly, he was struck by the beauty of the locale, but he also became very interested in the local fishing culture. Shortly after this trip, when the BP oil spill devastated the whole region, Shapira felt moved to write a piece that was in some way related to the lives of the Gulf Stream fishermen. As a long time fan of Hemingway, it did not take him long to connect his new inspiration to Hemingway's great novel, and when Molloy College commissioned him to write a piece for the "Innovative Classics Series" all the pieces fell into place.

As with his first concerto, Shapira prepared for this new endeavour by composing some solo pieces, in this case caprices with Carribean and Cuban stylistic elements. Describing his process, Shapira says," In every piece I write there is an 'outside influence' because that is how I learn; this leads to different harmonic languages, different sound worlds, and consequently different bow techniques. The caprices that I write are always studies towards these new styles." The solo piece included on this disc, Caprice Habanera, was indeed a study for The Old Man And The Sea.

Shapira will be performing the world premiere of his new concerto with the chamber orchestra known as The Knights on April 20 at Molloy College in Long Island. The combination of Shapira's playing, his music, and this hot-shot orchestra should make the event one of the most exciting of the month.

Ittai Shapira rehearses The Old Man And The Sea with Neil Thomson and the Royal Liverpool Philharmonic Orchestra.

On January 10 I had the pleasure of attending a performance of Huang Ruo's music at (le) poisson rouge. I've been a fan of Huang Ruo since 2007, and I was particularly interested in hearing his most recent string quartet, having missed the Chiara Quartet's premiere last season. This performance was given by the excellent Momenta Quartet (Emilie-Anne Gendron and Alex Fortes, violins; Stephanie Griffin, viola; Michael Hass, cello).

The quartet's title, Calligraffiti (a fusion of the words "calligraphy" and "graffiti") is meant to reflect the composition's autobiographical nature: Huang Ruo grew up in China and moved to New York City as a young adult, so Chinese calligraphy and urban graffiti are among the visual images that have influences his aesthetic sense.

In order to describe his compositional approach, Huang Ruo has coined the term "dimensionalism," which he describes as an organic integration of Chinese folk, Western avant-garde, rock, and jazz. Despite his own description, none of these styles is immediately recognizable in his music. This is good, because Huang Ruo's unique musical voice is far more interesting than any obvious allusion to the above mentioned genres. Whichever styles he draws upon is really his own concern; what is compelling about his music is its vitality, inventiveness, and extreme emotional expression.

The quartet's three movements run without pause. The first two movements lead the listener on a journey through rugged musical terrain: expressionistic glissandi, tones clusters, and driving rhythms. Huang Ruo builds an almost uncomfortable level of emotional tension by means of long sustained drones with microtonal fluctuations alongside periodic outbursts of dissonance. The drones eventually transform into high pitched screams in the violins as the lower instruments come together in a powerful, seemingly unstoppable rhythmic motive. In the third movement the listener's perceverance is rewarded with the emergence of a sublime melody (built mostly of fourths and fifiths) that is gently passed from player to player until it dissolves into a single high harmonic at the end.

The Momenta Quartet, an ensemble that seems unusually well suited to Huang Ruo's music, performed with fire, fantasy, and absolute musical commitment.

Also on the program were Book of the Forgotten, a playful and virtuosic work for clarinet and viola (performed by clarinetist Vasko Dukovski and violist Stephanie Griffin) and excerpts from Huang Ruo's recently composer opera, Dr. Sun Yat-Sen (performed by soprano Fang Tao Jiang, tenor Laurence Broderick, Ensemble FIRE, and the Momenta Quartet).

Photo by Angela Bartolo

ETHEL will soon be reunited with our dear friend and collaborator Ayelet Rose Gottlieb at the 2012 Winter Jazz Fest (January 7th/Zinc Bar). Ayelet has composed a beautiful and deeply heartlfelt piece for ETHEL and percussionist Satoshi Takeishi entitled Shiv'a. We've been developing Shiv'a together for over a year now, and recently recorded it. This January's concert marks the beginning of a series of live performances of the piece.

Ayelet's style combines tuneful folk influences with moments of abstract improvisation. Her tone color choices are unusual and interesting. In this interview she discusses her music, her projects, and the fascinating relationship between her music and her dreams.


Dufallo: Can you discuss Shiv'a - your inspiration for the piece, and how it came together?

Rose Gottlieb: Shiv’a is a meditation on the process of mourning. It references Jewish and Buddhist mourning rituals. I composed it following several deaths, including that of my good friend, drummer and percussionist Take Toriyama. It took a while to piece together the seven movements of Shiv’a, and to find the right “language” for it (the movements vary from graphic scores to traditional scores, with improvisation sections). It’s a very special piece for me, as it’s my first long instrumental composition.

Being a vocalist, I’m used to working with text, and in this case the composition process was very different from anything I had done before. Since there were no words, the way in for me was visual. Each movement in the piece is like a sketch that draws an image with sounds and textures. The titles of the seven movements reflect on a quote from the book of Kings:

There was a great and mighty wind, splitting mountains and shattering rocks […] but The Great Spirit was not in the wind. After the wind - an earthquake. But The Great Spirit was not in the earthquake. After the earthquake – fire. But The Great Spirit was not in the fire. And after the fire- a voice of thin silence.

The movement titles also reflect the four elements of nature, being slightly jolted and out of place – Geshem (rain), Ra’ash (earthquake), and Esh (fire). Air is referenced through the use of a unique instrument that was made specially for Shiv’a by instalation artist Michelle Jaffe – the "Blanket with 49 Bells." My dream life is at least as “real” to me as my waking reality... When I started composing Shiv’a, I had an incredible, powerful dream of a blanket with bells on it, that was moved by the wind. Michelle took on the task of bringing this sound-sculpture into physical reality, and the BW49B is now an integral part of Shiv’a. The bells signify a soul that keeps ringing in the world after the body has passed...


Dufallo: Can you tell a little bit about your musical history?

Rose Gottlieb: From childhood through the end of high school I studied to be a classical flautist. When I was about 14 I started “flirting” with improvisation -- first as a flautist, then as a vocalist. Saxophonist Arnie Lawrence moved to Israel in the 90s, and performing with him solidified my direction into the realm of vocal jazz and improvised music... About a year before I started singing, I started having a reoccurring dream of swirling colors -- a large, intricate orchestral piece would be playing, causing the colors to move. Every time I awoke from that dream I experienced a great frustration about not having the skill to “transcribe” this sub-conscious composition... I decided to start writing music, in order to be able one day to write that piece that was asking to be born... Of course, once I started composing, the dream stopped. I’m still hopeful this piece will come to visit me again some day...


Dufallo: What are some exciting upcoming projects?

Rose Gottlieb: With Shiv’a –- I’m very much hoping it will now have life as a performed piece. I feel that the combination of ETHEL, Satoshi Takeishi, and Michelle’s gorgeous BW49B will be a real treat to see on stage. We’re starting this journey on the night between the 7th & 8th of January at Winter Jazz Fest (Zinc Bar, 12:15am). The album is in the mixing stages, and will be released towards the end of 2012/early 2013.

Aside from Shiv’a, I have a few exciting projects in the works... On March 28th, my composition for trombone and piano, Carry On-Check In, will be premiered at Carnegie Hall by pianist Vered Reznik and trombonist Haim Avitzur.

In Israel, I recently recorded Betzidei Drachim / On The Roadside -- a project that features my settings of Israeli and Palestinian poetry. The music is a cross-over of jazz, prog-rock and middle-eastern music... This project features my long standing collaborator, pianist Anat Fort, as well as Ihab Nimer on Oud and Violin, and several other leading Israeli musicians.

With Mycale – John Zorn’s acapella vocal quartet –- we’re touring the US and Europe, and working on new materials... We’re also gearing up to an exciting 2013 – Zorn’s 60th birthday year!

Outside of my musical life –- I recently shifted my base to London, where my husband works as an animator. I am grateful every day for the fact that music is my life and I have incredible people to share it with...



Ayelet, ETHEL, and Satoshi Takeishi rehearsing Shiv'a

Missy Mazzoli

Life in ETHEL is frantic these days. In the midst of meetings, emails, conference calls, and intense rehearsals, I sometimes (sadly) lose touch with the sense of wonder that originally drew me to a life in contemporary music. Missy Mazzoli is one composer whose music always brings me back to a fundamental excitement about what I do. I have been working with Missy on her solo violin piece, Dissolve, O my Heart, which I will be performing at Bargemusic on October 5th (8PM) as part of my ongoing Journaling series.

Originally written for Jennifer Koh, the piece is essentially Missy's emotional reaction to J. S. Bach's D minor Chaconne (one of the great masterworks of the solo violin literature). She starts the piece with the same iconic d minor triad, in which the listener immediately "acknowledges the inevitable failure of the assignment." Missy seems to refer to the impossibility of approaching the structural perfection of that piece, and how, from her perspective, the only way to create her own piece was to embrace it as a "failed Chaconne." It's a gorgeous failure, if you ask me. The version that I will be performing in October includes live electronics (three different kinds of digital delay), which Missy and I have been developing together.

One of Missy's massive new projects is to create three operas, each one about "a fascinating female character from the 20th or 21st century." Part one of this trilogy, Song From The Uproar: The Lives and Deaths of Isabelle Eberhardt, is sure to be spellbinding. The libretto, co-written by Royce Vavrek and Missy, is based on the journals of Isabelle Eberhardt, and depicts more than a dozen scenes from Eberhardt's life. The opera begins at the moment of Eberhardt's death, and continues as a series of flashbacks. Eberhardt, who was a Swiss


Abigail Fischer in "Songs from the Uproar: The Lives and Deaths of Isabelle Eberhardt" (photo by Lindsay Beyerstein)

writer and explorer of the early 20th century, has been alternately idolized and shunned as a symbol of female liberation. Missy points to Eberhardt's relentless search for personal freedom and independence, her complicated love life, and her gender ambiguity (as a cross-dressing female artist) as themes that continue to be relevant to women today. Another interesting through-line of the opera is how Eberhardt navigates the conflict between Eastern and Western cultures. Eberhardt moved to North Africa and converted to Islam when she was a young woman. "She fought in street battles in Algiers against the French," Missy explains, "but she was also working for the French as a journalist, so she was caught between these two worlds."

The opera, directed by Gia Forakis, has already been workshopped at Galapagos in Brooklyn, New York City Opera's VOX, and Bard College, and will be premiered at The Kitchen on February 24, 25, and March 1-3. Performers include singer Abigail Fischer and NOW ensemble; with films by Stephen Taylor.

Missy has some other exciting projects coming up, including two new pieces - one for the Albany Symphony, and one for cellist Maya Beiser. Her all-star band Victoire (Olivia De Prato, violin; Eileen Mack, clarinet; Lorna Krier, keayboards; Elenore Oppenheim, bass; and Missy on keyboards), whose CD Cathedral City was one of NPR's top ten classical albums of 2010, will be performing at the Bell House in Gowanus on October 17. Not to be missed!

“The composer’s job is to create a context for music-making to reflect the emerging consciousness.” Hafez Modirzadeh



ETHEL performs music of Hafez Modirzadeh
By Cornelius Dufallo

Hafez Modirzadeh, a visionary saxophonist, theorist and composer, has been developing his own style of inter-cultural improvisation for three decades. His mentors and collaborators have included Ornette Coleman, some of the founding members of the Association for the Advancement of Creative Musicians, and the great Iranian violinist, Mahmoud Zoufonoun. ETHEL first encountered Modirzadeh in 2007, and the two parties felt an immediate artistic sympathy.

Since that time, Modirzadeh has created a body of work for saxophone, flutes, karna, string quartet, trumpet, santur, tombak, daf, and voice. On July 23, 2011 nine musicians came together to perform this music at the Yerba Buena Center for the Arts in San Francisco, CA. The lineup included ETHEL, Mili Bermejo (Mexican Argentinian jazz vocalist), Amir ElSaffar (Iraqi – American trumpeter), Faraz Minooei (Iranian santur player), Amir Abbas Etemadzadeh (Iranian percussionist), and the composer himself on saxophone and Karna. The unforgettable event, which Modirzadeh entitled In Convergence Liberation, was met with enthusiasm from a large audience, and all nine artists spent the following two days together at Open Path Studios in San Jose, recording the music for a forthcoming CD.


Dufallo, Modirzadeh, and ElSaffar practice "matching-spirit"

Modirzadeh’s work combines fascinating musical and philosophical concepts. “Composting” (a specific type of improvisational dialogue based on pre-existing written material), “matching–spirit” (a process of group improvisation using shared interval structures), “intoning” (a technique of improvising within a unison, playing with the higher partials of the overtone series), “tetramodes” (a carefully calibrated microtonal system based on a synthesis of ancient and modern approaches to intervallic relationships), and “Makam X” (an overarching and inter-cultural musical system of various partials of the harmonic series) were some of the techniques that the nine musicians shared and practiced together. Rhythmic meters of 17/4 (5+5+7) --inspired by Persian poetry -- were the foundation for improvisations that defied cultural boundaries. Persian modal systems, Iraqi maqam, Andalusian musical traditions, aspects of Indonesian gamelan, and references to western classical composers from the past three centuries were all called upon in this collaboration.


Tetramode Unfolding

In 2009 Modirzadeh described his musical aesthetic this way: “It begins with a few ideas sounded together, each one in an incomplete fashion, as if light were peering through traditions’ tattered curtains.” More recently he has started to speak of a “Convergence Liberation Principle,” which is directly inspired by the gathering at Tahrir Square, which he considers “the most concrete and brilliant example” of Convergence Liberation. Musically speaking, the concept is connected to a dual approach of honing individual style, while also transcending all cultural distinctions. The strategies that we used to translate these concepts into sound were mostly intuitive. We each drew from our own years of discipline in our respective traditions, but we also abandoned that discipline to make ourselves totally vulnerable. The process was mysterious, but we could all clearly feel a deep connection to our nature as social animals. For a few days we rejected the concepts of right and wrong; instead, we created a group dynamic based entirely on trust.


Members of the Convergence Liberation Band
(From left: Cornelius Dufallo, Amir Abbas Etemadzadeh, Mary Rowell, Dorothy Lawson, Ralph Farris, Amir ElSaffar, Hafez Modirzadeh)

Photo: Steve Taylor

Also published on ETHEL's Blog

On May 23 ETHEL will be premiering quartets by this year's HomeBaked composers (Anna Clyne, Matt Marks, Andy Akiho, and Judd Greenstein). Merkin Hall, 8PM as part of the 2011 Tribeca New Music Festival.

HomeBaked is a new project for ETHEL, in which we support the work of innovative, emerging composers who are based in our hometown of New York City. ETHEL’s HomeBaked commissions are funded in part by the Jerome and Greenwall Foundations. Click here to read a recent interview with Matt Marks.

Also on the program will be works by Corey Dargel, Randal Woolf, and Rick Baitz.

Judd Greenstein was kind enough to answer a few questions last week:


Dufallo: What are some of your influences (musical or non-musical)?

Greenstein: I really believe that artists need to be open to the possibility of everything they've ever encountered making its way into their work. So I don't claim to know what all my influences are, even if I can name the composers and musicians and other artists to whom I return most frequently. My "big three" in the classical world are Johann Sebastian Bach, Frederic Chopin, and Maurice Ravel; their approaches to voice-leading and harmonic motion serve as models for my own. Other musicians who are hugely influential are Philip Glass, Nina Simone, The Beatles, John Coltrane, Neil Young, DJ Premier, and Fela Kuti, as well as many of my friends and colleagues in our present time. Terrence Malick and David Lynch are are the two non-musical artists whose work has certainly influenced my music. But I'm less interested in the artists who I find personally important than in the many fragments of sound that have worked their way into my compositions. There are string quartets and pop songs that I've hated but which have had one moment that, knowingly or unknowingly, got past the defenses and wind up recontextualizing that work as an "influence"!


Dufallo: This question may seem overly simplistic, but why do you compose?

Greenstein: Music has always been a necessary part of my life, for as long as I remember, and at some point, I became addicted to my own music — to the works that I made that satisfied my own needs as a listener, and which weren't being addressed by existing work. That sounds onanistic, and it is, but fortunately, it seems like there are other people who have an emotional use for what I create, as well. So that takes it out of the realm of pure onanism and into the broader realm of contributing something useful to society. There's no objective measure of when or how that happens; being an artist is, in part, about finding the confidence to take the leap of faith that your work does have that relevance. I could have done a lot of things in the world that are objectively useful, but I came to the conclusion that the most powerful thing I could contribute in the world is to make great art. There's no way of knowing whether that's the correct decision; I'll never know. But I wouldn't have known the other way, either.


Dufallo: ETHEL is thrilled to be premiering your piece, Octet 1979. Can you describe the piece and your inspiration for composing it?

Greenstein: I've been collecting synthesizers from the 1970s and 1980s for the past few years. One of my interests is to bring these great instruments into conversation with other kinds of instruments, and this commission offered an opportunity to pair four of these synthesizers with four strings — thus, an "Octet". This is not an exploration of the sounds that these synthesizers can make, though I have created many new sounds for this piece. Rather, it's about "the notes" as well as the ways in which these two quartets speak to each other. ETHEL is the perfect group for this project, as it asks the string quartet to be a part of a broader conversation with what are conventionally "pop" sounds, while being incredibly virtuosic, technically proficient, and highly musical interpreters of a complex notated score. When ETHEL asked me for a quartet, it seemed obvious to bring them into the weird world of my "1979" series, and here we are.


Dufallo: What are some exciting upcoming projects?

Greenstein: My next project is a 30-minute orchestral work for the Minnesota Orchestra, which is premiering in March, 2012. I'm also finishing my evening-length work about King Solomon, "Sh'lomo", for my new synthesizer/guitar/bass/voices/percussion ensemble, The Yehudim.


Dufallo: Do you have any advice for composers who are just starting out?

Greenstein: Don't close yourself off to any of your influences. Study scores and refine your technique — strong commands of counterpoint, voice-leading, form, and harmony are the bedrock of all good composition. Put yourself in a position to work closely with excellent performers who respect and understand your voice and your music. Start your own ensemble.

Photo by Eckhart Derschmidt

Issue Project Room's current Artist-In-Residence, Okkyung Lee, is a fascinating and original cellist, improvisor, and composer. She has an awesome new CD, noisy love songs, that is now available for purchase at amazon and also at cduniverse.

Okkyung generously answered a few questions via email:


Dufallo: Okkyung - you have an interesting musical history - can you describe it?

Lee: well, i began like many other kids in korea by starting piano when i was 4... then when i began going to a catholic elementary school where all the kids had to play an instrument, my mom chose cello for me... then i studied classical cello for next 12 years... however i never liked playing the cello mostly because i had a horrible teacher whose idea of good student was someone who can copy exactly the way he played... meanwhile i got into listening to non-classical music ranging from korean pop songs, american main stream pop music then smooth jazz without knowing what it really was... then finally i was able to "stop" playing classical music when i decided to go to berklee college of music to learn something different after not getting into this university in korea... i went there without knowing a thing about jazz but was ready to learn... i even tried to play jazz on cello but never really got into it... then i decided to study film scoring since i love watching movies... then later i started improvising again without knowing anything about it... i was lucky enough to get in at new england conservatory of music to do master's in contemporary improvisation... however the real turning point was after moving to new york out of boredom... i finally was able to say playing cello is something i would do until the day i die... i still feel like i don't know so much about music except that's what i do...

Dufallo: What was the major inspiration for your CD, noisy love songs?

Lee: usually i never know what my inspiration is until i finish writing the music... usually i just respond to what i'm hearing in my brain and follow it carefully or sometimes without questioning it too much... although i have this general "pool" of emotions that i'm personally aware of while writing but cannot really describe it in words... then i think something clicked while i was staring at this portrait of george dyer by francis bacon at tate modern last spring... it felt like my entire body and nerves were responding to all these raw emotions brought out within the painting... couldn't stop staring it at for more than 15 minutes... i really felt all those emotions i couldn't describe in words through this portrait... also the fact all that vivid and powerful emotions were displayed out in the open in a crowed gallery with hundreds of people walking by yet most of people wouldn't look at it for more than 5 seconds made me quiver...

Dufallo: What are some exciting upcoming projects?

Lee: i'm doing a few things this year that i'm very excited about... i'm an artist in residence at issue project room this year and doing 3 new projects... first i'm doing a concert with guitarist liberty ellman, bassist skuli sverrisson and drummer tom rainey at the end of april... the music i'm writing for is more structured and even elements of rock... then thinking about doing a project with a dancer and a string quartet... also eventually want to do a string ensemble, percussion with a singer before the end of this year... we shall see...

Dufallo: Do you have any advice for musicians who are just starting out on their professional career?

Lee: it really makes the whole thing easier if you get into it because you are passionate about it... otherwise you won't have any fun...!