16

Victor Haskins: Embracing His Audience

Nicholas F. Mondello By

Sign in to view read count
Victor Haskins is one of those young musicians who seems to be able to do it all. He's an award-winning trumpeter, composer/arranger and educator/clinician—all at 21 years old. His debut recording, The Truth (32 Bar Records, 2013) received significant well-deserved acclaim. Haskins, a young visionary, has developed ImproviStory, what he describes as a new and emerging form of audience-generated extemporaneous musical improvisation. We caught up with Victor as he prepares to perform ImproviStory at this year's Festival of New Trumpet Music later this month in New York.

All About Jazz: Victor, on behalf of All About Jazz, thanks for taking time to speak with us about ImproviStory and your current and future projects.

Victor Haskins: Thanks, Nick.

AAJ: Please tell us about ImproviStory, what it is, and how it came about.

VH: Well first, I might want preface it by saying that ImproviStory is not tied to jazz at all, though people who enjoy jazz will probably have an affinity for ImproviStory because of the element of improvisation. Maybe let's talk about where it comes from.

AAJ: Sure.

VH: When I was learning how to improvise, I realized that the methods that they taught in school and what I gathered from around me didn't fit with how I wanted to play. And so, I had to create my own sound, style and way of thinking about improvisation and how that connected me to playing tunes. I realized that you can literally play anything over chord changes as long as you resolve it and you play it with intent and conviction. So, every tune can potentially sound the same as one plays familiar patterns to their muscle-memory over chord changes. To combat this issue, I developed this idea—"Melodic Improvisation"—where the melody of the tune provides the inspiration for the improvisation. It's like a game—a board game, but, each tune has its own rules; you wouldn't play "Monopoly" with the rules of "Sorry," even though both are "games," so to speak. Each tune has its own personality and is its own world, and the improvisation is a reimagining of the melody, as opposed to simply "playing chord changes." My whole thing is connections—connecting the musicians to the melody, the musicians to each other, the music to the audience, and the audience to the band.

AAJ: I see.

VH: I feel that at times there's a large disconnect between jazz musicians and non-musician audiences. It's like the musicians are playing for musicians, not the audience. So, I don't want the audience not going where the band is going. The audience should be going on the same journey as the band.

AAJ: So ImproviStory emanated from that?

VH: Well, it was my writing first. How could I create parts for the band, so that no matter where it is—the journey—you—as the audience—are always there with us? What became ImproviStory would happen when I would practice a lot by myself. The tunes I played—jazz standards—would always become something different each time I played them—their own thing. Then, I would freely improvise for people without using pre-existing tunes and they'd say "that was a nice tune." The thing is they weren't tunes—not pre-existing tunes, anyway. Even so, they followed the story I was telling with how I improvised. So then I thought: if that's the case, I wouldn't necessarily need a pre-existing tune per se, or, if the audience could suggest a story for me to improvise, I could create a melody out of their idea. Then they could then have a deeper connection to what it is I'm playing. Because now I'm not just creating a strong logic for them to follow—it's deeper than that—it's a story that they've created and I've elaborated on in my music.

AAJ: So, it's a little like the TV show, "Who's Line Is It, Anyway?" where the host would give a suggested scenario to improvisational comics and they would act out a sketch. ImproviStory is, therefore, your improvisational musical expression of the suggested story idea from the audience. And you as a soloist improvisationally play that suggestion out—it's your vision and interpretation. Is that the idea?

VH: That's exactly the idea.

AAJ: It's also a lot like "program music" where you improvise musically but stick to the suggested emotional and energy elements envisioned ideas from the suggestion.

Tags

Watch

comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Album Reviews
Catching Up With
Album Reviews
Read more articles
Showing Up

Showing Up

Self Produced
2019

buy
The Truth

The Truth

32bar Music
2013

buy

Related Articles

Read Bret Primack on Jazz Video and the Ira Gitler Documentary Catching Up With
Bret Primack on Jazz Video and the Ira Gitler Documentary
By Steve Provizer
June 11, 2019
Read Vivian Sessoms: To Be Black In America Catching Up With
Vivian Sessoms: To Be Black In America
By Kevin Press
June 8, 2019
Read Keith Fiala: From Maynard to the Maestro Catching Up With
Keith Fiala: From Maynard to the Maestro
By Nicholas F. Mondello
June 7, 2019
Read Tierney Sutton: Movie Music Re-visited Catching Up With
Tierney Sutton: Movie Music Re-visited
By Josef Woodard
May 8, 2019
Read Herb and Lani Alpert: Truth-Telling, the Arts and Heart Catching Up With
Herb and Lani Alpert: Truth-Telling, the Arts and Heart
By Nicholas F. Mondello
April 30, 2019
Read David Helbock: Inside & Outside the Piano Catching Up With
David Helbock: Inside & Outside the Piano
By Mark Sullivan
March 22, 2019
Read Arthur Satyan:  A life Steeped in Music Catching Up With
Arthur Satyan: A life Steeped in Music
By Hrayr Attarian
March 11, 2019