# Steve Coleman first instrument was violin but later that year he switched to the alto saxophone: Video

- Link: https://jazzblues.eu/2017/09/20/steve-coleman-first-instrument-violin-later-year-switched-alto-saxophone-video/
- Published: 2017-09-20T12:02:40+01:00
- Author: https://JazzBlues.EU

**20.09. – Happy Birthday !!! Steve began playing music just days before his 14th
birthday as a freshman at South Shore High School on the south side of Chicago. 
His first instrument was violin but later that year he switched to the alto saxophone.**

For three years Steve studied the basics of music and saxophone technique, then 
he decided that he wanted to learn how to improvise. Looking for the best improvising
musicians to listen to is what brought Steve to the music of Charlie Parker, although
it helped that his father listened to Parker all the time. After spending two years
at Illinois Wesleyan University Steve transferred to Roosevelt University (Chicago
Music College) in downtown Chicago in order to concentrate on Chicago’s musical 
nightlife. Specifically Coleman had been introduced to the improvisations of Chicago
premier saxophonists Von Freeman, Bunky Green, Gido Sinclair, Sonny Greer and others
and he wanted to hang out and learn from these veterans. By the time he left Chicago
in May 1978, he was holding down a decent gig leading a band at the New Apartment
Lounge, writing music, playing Parker classics, and getting increasingly dissatisfied
with what he felt was a creative dead end in the Chicago scene.

After hearing groups from New York led by masters like Max Roach, Art Blakey, Woody
Shaw, The Thad Jones-Mel Lewis Orchestra, Sonny Rollins, etc. come through Chicago
with bands that featured great players with advanced musical conceptions, Steve 
knew where he wanted to go next. He felt he needed to be around this kind of atmosphere
in order to grow musically.

Hitchhiking to New York and staying at a YMCA in Manhattan for a few months, he 
scuffled until he picked up a gig with the Thad Jones-Mel Lewis Big Band, which 
led to stints with the Sam Rivers Big Band, Cecil Taylor’s Big Band and others. 
Soon he begun cutting records as a sideman with those leaders as well as pivotal
figures like David Murray, Doug Hammond, Dave Holland, Mike Brecker and Abbey Lincoln.
However it was really the influence of Von Freeman and Bunky Green in Chicago, Thad
Jones, Sam Rivers, Doug Hammond in New York and listening to recordings of past 
improvising masters and music from West Africa that got Coleman turned around musically..
The most important influences on his music at this time was listening to tenor saxophonist
Von Freeman (who primarily influenced Coleman as an improviser), saxophonist Sam
Rivers (who influenced Steve compositionally) and drummer/composer Doug Hammond (
who was especially important in Steve’s conceptual thinking).

Even playing with these masters only went part of the way toward paying the rent,
and so for the next four years Coleman spent a good deal of time playing in New 
York City’s streets for small amounts of money with a street band that he put together
with trumpeter Graham Haynes, the group that would evolve into the ensemble Steve
Coleman and Five Elements. It is this group that would serve as the flagship ensemble
for most of Steve’s activities.

Within a short time the group began finding a niche in tiny, out-of-the-way clubs
in Harlem and Brooklyn where they continued to hone their developing concept of 
improvisation within nested looping structures. These ideas were based on ideas 
about how to create music from one’s experiences which became the foundation which
Coleman and friends call the M-Base concept. However, unlike what most critics wrote
this concept was philosophical, Coleman did not call the music itself M-Base.

After reaching an agreement with the West German JMT label in 1985, Steve and his
colleagues got their chance to document their emergent ideas on three early Coleman-
led recordings like Motherland Pulse, On The Edge Of Tomorrow, and World Expansion.
The late 1980s found Coleman working to codify his early ideas using the group Steve
Coleman and Five Elements and working with a collective of musicians called the 
M-Base Collective. As his ideas grew Steve also learned to incorporate various forms
of research to expand his awareness, these techniques included learning to program
computers to be used as tools to further develop his conception. He developed computer
software modules which he referred to as The Improviser which was able to spontaneously
develop improvisations, harmonic structures and drum rhythms using artificial intelligence
based on certain musical theories that Steve had developed over the years. It was
also during this time that Coleman came into contact with the study of the philosophy
of ancient cultures. This began in the late 1970s with his listening to music from
West Africa and studying about he African Diaspora, but in the 1980s Steve began
to study and read about the ideas behind the music. He began to see that there was
a sensibility that connected what he was interested in today with the ancient cultures
of the past. All of these ideas are documented on his recordings in the form of 
a sonic symbolic language.

These emerging concepts were documented on Steve’s subsequent albums Sine Die (the
last recording of the 1980s on the Pangaea Label), Rhythm People, Black Science,
Drop Kick, The Tao of Mad Phat, and the first album of the entire M-Base Collective
called Anatomy of a Groove (all on BMG Records). However, not being satisfied with
reading and listening to recordings, Coleman embarked on the first of many research
trips, first going to Ghana in December 1993 to January 1994 to study the relationship
of language to music. One of the places that he traveled to was a small village 
called Yendi to check out the Dagbon people who have a tradition of speaking through
their music using a drum language that still survives today. Steve had certain ideas
about the role of music and the transmission of information in ancient times and
he wanted to verify his speculations. This trip had a profound effect on Coleman’s
music and philosophy. Upon returning to the United States Steve recorded Def Trance
Beat and A Tale of 3 Cities on BMG Records, however the impact of the ideas that
he was introduced to in Ghana would not be fully expressed in his work until late
in 1994 after meeting the Kemetic (i.e. related to ancient Egypt) philosopher Thomas
Goodwin, whose influence on Steve’s work was profound and far reaching.

In June 1994 Steve formed the group Renegade Way which at that time consisted of
Steve Coleman and Greg Osby on alto saxophones, Joe Lovano and Craig Handy on tenor
saxophones, Kenny Davis on bass and Yoron Isreal on drums. This group also did its
first tour of Europe in late august 1995 (with Bunky Green on alto taking Greg’s
place and Ralph Peterson on drums instead of Yoron). A later version of this group
consisted of Steve Coleman and Greg Osby on alto saxophones, Gary Thomas and Ravi
Coltrane on tenor saxophones, Anthony Tidd on Bass and Sean Rickman on drums, however
this group has never recorded a commercially released CD.

Representing both a summation of the previous period and the beginning of another
phase is the three CD box set entitled Steve Coleman’s Music – Live at the Hot Brass
released by BMG France. Each CD in the box set was recorded live in March 1995 in
Paris and features one of Coleman’s groups, Curves of Life by Steve Coleman and 
Five Elements, The Way of the Cipher by Steve Coleman and Metrics and Myths, Modes
and Means by Steve Coleman and The Mystic Rhythm Society. This last CD was directly
influenced by the trip to Ghana and philosophical studies with Tom Goodwin, it was
to point in the direction of Steve’s investigations for the remainder of the 1990s.
Together with an experimental ensemble put together called Steve Coleman and The
Secret Doctrine, that brought the total number of group projects that Steve was 
involved in to five.

The year 1995 was an important year for Steve. He began by organizing a trip that
would make a profound impact on his music. While pursuing his philosophical studies
and learning more about the transmission of these ideas through music, Steve began
to plan to investigate an idea that he had been thinking about for at least 7 years.
In an effort to follow the development of certain philosophical and spiritual ideas
obtained by studying ancient cultures (primarily ancient Egypt) and following up
on the 1993-94 research trip to Ghana, Africa, Steve wanted to meet and collaborate
in a creative way with musicians who were involved in certain ancient philosophical/
musical traditions which come out of West Africa. One of his main interests was 
the Yoruba tradition (predominantly out of western Nigeria) which is one of the 
Ancient African Religions underlying Santeria (Cuba and Puerto Rico), Candomble (
Bahia, Brazil) and Vodun (Haiti). Steve decided to go to these places and investigate
the method by which the ideas of these traditions were transmitted through music.
First stop, Cuba!

In Cuba Steve found that the situation was more complex than he had imagined for
the people had preserved more than one African culture and these were mixed together
under the general title of Santeria. There are the Abakua societies (Ngbe) , the
various Arara cults (Dahomey), the Congo traditions such as nganga, mayombe and 
palo monte as well as the Yoruba traditions. But he did find one group called AfroCuba
de Matanzas who specialized in preserving all of the above traditions as well as
various styles of Rumba.

It was to the town of Matanzas that Steve headed in January of 1996 in order to 
study the music and also contact AfroCuba de Matanzas and arrange a meeting with
the leader of this group, Francisco Zamora Chirino (otherwise known as Minini). 
Minini was also excited about the project and so it was arranged that the collaboration
would take place in February during the time of the Havana Jazz Festival in order
to give the expanded group a chance to perform before the Cuban public.

In February of 1996 Steve rented a large house in Havana and along with a group 
of 10 musicians and dancers, a three person film crew and the group AfroCuba de 
Matanzas (who had been bused in from Matanzas) the collaboration was started. For
12 days the two groups hung out together, worked, practiced and conceptualized in
order to realize their goal. After their performance at the Havana Jazz Festival
the musicians went into a Egrem Studios in Havana and recorded the collaboration.
The results of this effort are preserved on a recording made for the BMG France 
recording company called The Sign and The Seal by Steve Coleman and The Mystic Rhythm
Society in collaboration with AfroCuba de Matanzas.

Although this project went well Coleman viewed the results as he did every other
project he has been involved in, as a step along a certain path. It did demonstrate
another step in the evolution of his music, but it is being on the path that is 
important to Steve. It also shows that there is a more obvious connection than is
generally thought between the creative music of today and the dynamic musical traditions
of African peoples living in various parts of the earth. The combined group of Steve
Coleman and The Mystic Rhythm Society in collaboration with AfroCuba de Matanzas
did a major tour of Europe in June-July of 1997. This year also saw Steve form a
large group (big band) called Steve Coleman and The Council of Balance. This group
recorded a CD called Genesis which was released as part of the two CD set released
by BMG France called Genesis and The Opening of The Way (the second CD in the set
featuring Steve Coleman and Five Elements).

1997-1999 saw a continuation of the projects involving cultural exchange with musicians
around the world. Partially funded by a grant from Arts International (1997), Steve
took a group of musicians from America and Cuba to Senegal to collaborate and participate
in musical and cultural exchanges with the musicians of the local Senegalese group
Sing Sing Rhythm. Using his own funds he also led his group Five Elements to the
south of India in January-February of 1998 to participate in a cultural exchange
with different musicians in the Karnatic music tradition. Steve and his group also
gave workshops in the Brahavadhi Center headed by the renown musicologist Dr. K.
Subramanian. What Steve learned on the trip to India (along with a research trip
to Egypt the preceding month) helped to substantiate the knowledge of the ancient
systems that Steve had been studying. These trips were helpful in supplying the 
additional information necessary for Steve to continue his studies which he hopes
to express through his own music. Two of Steve’s Five Elements recordings released
by BMG France, The Sonic Language of Myth (1999) and The Ascension to Light (2000)
are a direct result of these studies.

This work came to the attention of IRCAM (the world renown computer-music research
center in Paris France) leading to Coleman receiving a major commission from IRCAM
to further develop his ideas, in the form of interactive computer software, at the
IRCAM facilities in Paris with the aid of programmers Sukandar Kartadinata, Takahiko
Suzuki, Gilbert Nouno and IRCAM technology. A premier concert in June 1999 featuring
Steve Coleman and Five Elements interacting with what Steve calls his Rameses 2000
computer software program was the public result of this commission. In 2000-2001
Steve withdrew from performing/recording and began study sabbatical. During this
time he traveled extensively to India, Indonesia, Cuba and Brazil and continued 
much of his research as a music professor at the University of California at Berkeley
and at CNMAT (the Center for New Music and Technology). He also overhauled his business
organization and signed with another record company from France called Label Bleu.
After returning to the world of performing Coleman recorded a live double-CD set
called Resistance Is Futile (2001) on Label Bleu records.

In 2002 Steve Coleman and Five Elements recorded a CD that is available free of 
charge on Steve’s website (www.m-base.com) called Alternate Dimension Series I. 
Also recorded in this year is the On The Rising Of The 64 Paths on Label Bleu records.

Much of the important segments of this activity from January 1996 through 2002 have
been preserved in the form of a documentary film shot by Eve-Marie Breglia based
on Steve’s music and the theme of cultural transference tentatively entitled Elements
on One, available on Steve’s member website http://www.m-base.net.

In 2003 Steve recorded Lucidarium (also on Label Bleu records). For this CD Steve
and his group explore the dimensions of an alternate tonal and rhythmic system, 
continuing the spirit of research and experimentation that marks all of his projects.
Weaving Symbolics was recorded in 2005 and similarly explores the world of form.

2006-2007 saw a flurry of activity, with Steve releasing his first solo saxophone
recording called Invisible Paths (on the Tzadik label). Also recorded during this
time were Harvesting Semblances and Affinities and The Mancy of Sound, but these
recordings were not released until 2010 and 2011 respectively, after Steve had made
a distribution deal with Pi Recordings. All three of these recordings are connected
conceptually in that they deal with both an expanded tonal and orchestration conception.
This also coincided with Steve’s 2006 meeting with the great Danish composer Per
Nørgård, who has had some influence on Steve’s orchestration concepts.

In 2012 Steve altered his approach and began to create completely spontaneous compositions,
which he then orchestrated. Functional Arrhythmias was the first recording to use
this approach, which involved spontaneously composing in a near-trance state. This
was also the first recording to be based on the cyclical movements within the human
body, a idea that was influenced by Steve’s meeting and conversations with percussionist,
polymath and modern shaman Milford Graves in 2011.

While on a study sabbatical in 2013, Steve received a vision in a half-waking state,
and began work on a 2-year project that culminated in the creation of spontaneous
large ensemble compositions, the results of which can be heard on the recording 
entitled Synovial Joints (released April 28 2015). This was a continuation of the
spontaneous composition approach, but further developed with much more orchestration
of multiple musical instrument colors. 2015 saw the premier of these compositions
in performances in the USA and in Europe.

The latest composition, performances and recording were completed with the help 
of numerous awards and accolades that have long eluded Steve throughout his career.
In 2014-15 Steve received a Guggenheim Fellowship, Doris Duke Impact Award, MacArthur
Fellowship, New Music USA award and Doris Duke Artist Award. These awards also allowed
Steve to initiate month-long residencies in various cities throughout the United
States in 2015, Chicago (1 month), Philadelphia (2 weeks) and Los Angeles (3 weeks)–
with plans to Detroit in 2016, as to return to Philadelphia and Chicago. The purpose
of these residencies is to initiate outreach activities in underserved communities
through workshops, lecture/demonstrations, open rehearsals and sustained performances,
in an effort to energize local music scenes.

##### Awards – 2015 Doris Duke Artist Award – 2015 New Music USA Grant – 2014 MacArthur Fellowship – 2014 Doris Duke Impact Award – 2014 Guggenheim Fellowship – 2007 American Composers Orchestra (ACO) – 2000 Chicago World Music Festival Commission (Field Museum & Jazz Institute of Chicago) – 2000 CalArts/Alpert Award in the Arts – 1999 Commission from L’Institut de Recherche et de Coordination Acoustique/Musique (Ircam) – 1997 Art’s International Grant (for work in Senegal) – 1996 Lila Wallace-Reader’s Digest Fund – 1995 National Endowment for the Arts (composer).

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