"Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it. - Pablo Picasso
About two years ago, Wynton Marsalis, artistic director of Jazz at Lincoln Center, asked me to compose a long-form piece to be performed at some future date by the Jazz at Lincoln Center Orchestra. He said it could be anything I wanted, but needed a theme. It didn't take me long to think of a concept that would truly inspire me to write an hour of new music: each movement of the composition would be dedicated to a different painter.
Well, I can't believe that two years have passed. It has been a great journey for me and I wish I could share the entire creative process with the audience. Of course I look forward to the performances, but it's in the early stage of discovery, thoughts, impressions, decisions, experiments, that is most fulfilling.
One of the biggest challenges was choosing only seven painters. I decided to limit my choices to artists who lived within an approximate 100-year period, about the age of jazz itself. The period includes the end of the Impressionist period and takes us into Abstract Expressionism of the '60s. Although it doesn't correlate exactly with the existence of jazz music (around the beginning of the 1900s to present), it is a similar time frame. And during these 100-year periods each art form went through a similar amount of transformations.
There were a few choices that were no-brainers for me: Picasso, Van Gogh and Monet. I think of Picasso as sort of the Miles Davis of the art world. He was responsible for the development of different movements (like Cubism). Miles helped give birth to bebop, modal and fusion, among other styles. Ultimately the list would include those three plus Matisse, Chagall, Dali and Pollack. Not only are all of these great painters, but the difference in their styles would help lead to a contrast among each of the seven movements. I have also focused on artists that are very recognizable names because I want the listener to hear music that expresses images with which they are already very familiar. I think this will be a greater experience: people have developed their own reactions to these great artists and may have heard melodies, seen movement or even smelled smells of their own in response to these great paintings. It is my wish not that I will capture the individual reactions of the audience members, but rather that they will be able to see mine and understand, after hearing the music, how these paintings have moved me. And hopefully, as a result, people will walk away seeing these paintings in a new, fresh way.
Jazz at Lincoln Center contacted The Museum of Modern Art, who agreed to work with us by providing me access to their incredible collection. It has been a wonderful time re-exploring many of the works of art that I began to enjoy soon after moving to New York when I was 18, some of which have become truly iconic to me.
Performed by the Jazz at Lincoln Center Orchestra with Wynton Marsalis, "Portrait in Seven Shades will premiere in a concert called Jazz and Art at Jazz at Lincoln Center. I am working with director Brian Beasely to realize the vision I have of projecting the images on the band while onstage, so that the music literally rises out of the paintings.
With "Portrait in Seven Shades , I will tell a story about these painters; not through words, as in a museum description, but through music. Musicians and artists often experience similar joys, struggles, successes and self-doubts. Many parallels can be drawn between the two forms of art. Musicians talk of colors, layers and composition. Similar adjectives have been used to describe each art form: impressionistic, abstract, pop. And of course there is "the blues .
When painters and musicians embrace their own truths, working on their art can be a wonderful opportunity to get to know themselves better. It also lets other people know more about themselves. Also, when art is sincere, it usually reflects something of the society in which we live.
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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