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Take Five with Devin Roth

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Meet Devin Roth:
Originally from Kelowna, BC, Canada, Devin Roth is an accomplished pianist and composer. He is in demand as a composer and orchestrator in the film industry in Los Angeles and has worked on projects including The Book of Life, Elf: Buddy's Musical Christmas, Empire (TV series) and Crimson Peak. He studied jazz composition at New England Conservatory in Boston, MA under the tutelage of Cecil McBee, Jerry Bergonzi and Fred Hersch. Devin's debut album Childhood Places is a clear display of his originality and musical prowess.

Instrument(s):
Piano, Violin

Teachers and/or influences?
Major Influences: Miles Davis, Bill Evans, Wayne Shorter, Radiohead, Brad Mehldau, Dave Holland, Darcy James Argue.

Teachers: Cecil McBee, Fred Hersch, Jerry Bergonzi, Jeff Johnston.

I knew I wanted to be a musician when...
growing up in Kelowna, BC, my parents had an old spinet piano. I remember from a young age I would sit at the piano and play. The freedom of creation in music inspired me to take violin and piano lessons. From that moment I was destined to pursue music as a career...and things just seem to work out.

Your sound and approach to music:
I love interactive music. The ability to communicate musically to a group is truly amazing. In all my compositions and playing I strive to create an environment that fosters a sense of freedom of expression. Often when composing I think visually and strive to create music that is inspired by adventures and emotions.

Road story: Your best or worst experience:
I once shared the stage with Shania Twain when performing at a country music festival.

Favorite venue:
I always enjoy playing at Upstairs in Montreal. Joel is a great owner/manager and we always seems to pack the place.

Your favorite recording in your discography and why?
Childhood Places is a special album for me. My sextet featuring Derek Friesen on trumpet, Andrew Van Tassel on alto sax, Jon Kenney on trombone, Ehud Ettun on bass, Steve Wilkinson on drums, and myself on piano, explores original compositions inspired by my childhood in the Okanagan Valley in British Columbia. The album is highly interactive and contains rock influences and odd meters. The purpose of the album was to take listeners on a musical adventure and I'm proud of the result.

The first Jazz album I bought was:
Kind of Blue... need I say more. I wore out at least two copies of the CD.

What do you think is the most important thing you are contributing musically?
I'm trying to push the boundaries of music technology. One pet project I'm currently working on involves recording performance data from my violin via numerous sensors. The goal is to create a playable virtual violin. In the film/TV world we create mockups with virtual instruments and often it becomes the final product. I'm working to find a way to bring performance back into virtual orchestras.

Did you know...
Once while working on the film Crimson Peak, Guillermo del Toro requested an out of tune piano. Instead of finding a sample library to fit the need, I recorded the old out of tune spinet piano in my living room. He loved it. All instruments have their place.

CDs you are listening to now:
I've been listening to a lot of Danny Elfman's film scores at the moment. Epic, Nightmare Before Christmas, Batman...I love Danny's sense of melody, texture, and most of all harmony. His use of parallel triadic harmonic is truly wonderful.

Desert Island picks:
Darcy James Argue: Infernal Machines
Miles Davis: 1964 Concert (Four & More, My Funny Valentine)
John Williams: Star Wars Complete Box Set
Charles Dutoit/Montreal Symphony Orchestral: Holst -The Planets
Radiohead: Hail To The Theif

How would you describe the state of jazz today?
Jazz, I believe, has become music for musicians. The complexity of the genre has evolved to no longer be dance music but music for active listeners. I doubt jazz will ever become popular again unless it returns to the dance roots. If you look at the most popular music throughout history, it almost exclusively follows the popular dances of the day...which is why there is a huge EDM crossover into pop as we speak. That being said, I don't think jazz needs to be popular, I think it's great as it is.

What are some of the essential requirements to keep jazz alive and growing?
I believe that jazz music is and should evolve. The single most important aspect of jazz, in my opinion, is improvisation. Improvisation existed long before jazz in classical music. Unfortunately the art was lost but jazz created a completely new avenue for improvisational musicians to express themselves. I don't think improvisational music will ever disappear but I do believe it will change form. It's the excitement of exploring new ground and being on the edge that has always driven jazzers...and I don't think this will ever change.

What is in the near future?
Over the next year I plan on starting a jazz orchestra and recording an album of original big band charts.

What song would you like played at your funeral?
Nearer My God To Thee. One of the greatest hymns ever written.

What is your favorite song to whistle or sing in the shower?
I usually just improvise or compose a new song in the shower.

By Day:
Aside from jazz, I work on music for film and television. Some of my recent projects include The Book of Life, Elf: Buddy's Musical Christmas, Empire (TV series), and Crimson Peak.

If I weren't a jazz musician, I would be a:
If I didn't pursue music as a career I believe I would either work as a programmer or an architect. Creativity runs in my blood and I love working with computers and technology.

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