Fri, Feb 14|
Steve Lehman / Gerald Clayton duo
Two of the most respected and creative modern voices on their instruments team up for a duo exploration of their music. Steve Lehman (alto saxophone), Gerald Clayton (piano) 8:00 & 9:30 | 21+
Feb 14, 2020, 8:00 PM
Sam First, 6171 W Century Blvd Suite 180, Los Angeles, CA 90045, USA
Described as “a state-of-the-art musical thinker” and a "dazzling saxophonist,” by The New York Times, Steve Lehman (b. New York City, 1978) is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman’s pieces for large orchestra and chamber ensembles have been performed by the International Contemporary Ensemble (ICE), So Percussion, the American Composers Orchestra, the JACK Quartet, the PRISM Saxophone Quartet, and the Talea Ensemble. His recent recording, Mise en Abîme (Pi, 2014) was called the #1 Jazz Album of the year by NPR Music and The Los Angeles Times. And his previous recording, Travail, Transformation & Flow (Pi, 2009), was chosen as the #1 Jazz Album of the year by The New York Times.
The recipient of a 2015 Guggenheim Fellowship and a 2014 Doris Duke Artist Award, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, Bennie Maupin, Jason Moran, Georgia-Anne Muldrow, George Lewis, Meshell Ndegeocello, and HPrizm of Antipop Consortium, among many others. His recent electro-acoustic music has focused on the development of computer-driven models for improvisation, based in the Max/MSP programming environment. Lehman’s work has been favorably reviewed in Artforum, Downbeat Magazine, The New York Times, Newsweek, and The Wire, and on National Public Radio, the BBC, and SWR.
As a Fulbright scholar in France during the 2002-2003 academic year, Lehman began researching the reception of African-American experimental composers working in France during the 1970s. His article in the journal Critical Studies in Improvisation, “I Love You with an Asterisk: African-American Experimental Composers and the French Jazz Press, 1970-1980,” is based on his Fulbright research. More recently, Lehman has published writings and presented lectures on a wide range of topics, including jazz pedagogy, rhythm cognition, and European notions of American experimentalism. His current scholarship, including a forthcoming contribution to the Oxford Handbook of Spectral Music, examines the overlapping histories of spectral composition and jazz improvisation.
Lehman received his B.A. (2000) and M.A. in Composition (2002) from Wesleyan University where he studied under Anthony Braxton, Jay Hoggard, and Alvin Lucier, while concurrently working with Jackie McLean at the Hartt School of Music. He received his doctorate with distinction in Music Composition from Columbia University (2012), where his principal teachers included Tristan Murail and George Lewis.
Lehman has taught undergraduate courses at Wesleyan University, the Conservatoire National Supérieur de Musique de Paris, New School University, and Columbia University, and has presented lectures at Amherst College, UC Berkeley, The Berklee School of Music, The Banff Centre, The Royal Academy of Music in London, and IRCAM in Paris, where he was a 2011 research fellow.
He is currently a professor of Music at The California Institute of the Arts, and lives in Los Angeles.
Gerald Clayton searches for honest expression in every note he plays. With harmonic curiosity and critical awareness, he develops musical narratives that unfold as a result of both deliberate searching and chance uncovering. The four-time GRAMMY-nominated pianist/composer formally began his musical journey at the prestigious Los Angeles County High School for the Arts, where he received the 2002 Presidential Scholar of the Arts Award. Continuing his scholarly pursuits, he earned a Bachelor of Arts in Piano Performance at USC’s Thornton School of Music under the instruction of piano icon Billy Childs, after a year of intensive study with NEA Jazz Master Kenny Barron at The Manhattan School of Music. Clayton won second place in the 2006 Thelonious Monk Institute of Jazz Piano Competition.
Expansion has become part of Clayton’s artistic identity. His music is a celebration of the inherent differences in musical perspectives that promote true artistic synergy. Inclusive sensibilities have allowed him to perform and record with such distinctive artists as Diana Krall, Roy Hargrove, Dianne Reeves, Ambrose Akinmusire, Dayna Stephens, Kendrick Scott, John Scofield Ben Williams, Terell Stafford & Dick Oatts, Michael Rodriguez, Terri Lyne Carrington, Avishai Cohen, Peter Bernstein and the Clayton Brothers Quintet. Clayton also has enjoyed an extended association since early 2013, touring and recording with saxophone legend Charles Lloyd.
2016 marks his second year as Musical Director of the Monterey Jazz Festival On Tour, a project that has featured his trio along with Ravi Coltrane, Nicholas Payton, Terence Blanchard and Raul Midón on guitar and vocals.Clayton’s discography as a leader reflects his evolution as an artist. His debut recording, Two Shade (ArtistShare), earned a 2010 GRAMMY nomination for Best Improvised Jazz Solo for his arrangement of Cole Porter’s “All of You.” “Battle Circle,” his composition featured on The Clayton Brothers’ recording The New Song and Dance (ArtistShare), received a GRAMMY nomination for Best Jazz Instrumental Composition in 2011. He received 2012 and 2013 GRAMMY nominations for Best Jazz Instrumental Album for Bond: The Paris Sessions (Concord) and Life Forum (Concord), his second and third album releases.
Capturing the truth in each moment’s conception of sound comes naturally to Clayton. The son of beloved bass player and composer John Clayton, he enjoyed a familial apprenticeship from an early age. Clayton honors the legacy of his father and all his musical ancestors through a commitment to artistic exploration, innovation, and reinvention.
In the 2016-17 year, Clayton turns his imaginative curiosity toward uncovering the essence of the Piedmont Blues experience and expression in early twentieth century Durham. A Duke University commission, Clayton’s evening-length composition will explore a mixed media performance that features some of the most resonating voices in contemporary music.