 Percussionist/composer
Kevin Norton received
his Bachelors from Hunter College, the City University of New York and
his Masters degree from the Manhattan School of Music. He has performed
and/or recorded with Anthony Braxton, Milt Hinton, Fred Frith, the Phillip
Johnston's Big Trouble, 77 Hz(multi-media), Kitty Brazelton's DADADAH,
Marie McAuliffe, Erik Friedlander, the Klezmatics, Ankle to Nose, Slam
Stewart, Kapelye, Andy Statman, George Cartwight, Fred Lonberg-Holm, Steve
Elson, Fred Ho, David Krakauer the Sirius String Quartet, the Soldier String
Quartet, James Emery, Scott Miller, Mark Dresser Quartet, Framework(Kevin
Norton, Erik Friedlander, Laura Seaton), Jason Hwang,
Brandon Evans, and many other New York area musicians. Kevin has performed
frequently at jazz and new music festivals internationally. He has
received numerous scholarships and awards including Meet the Composer and
National Endowment for the Arts. Because of his work as a composer, Kevin
is often asked to contribute compositions and/or arrangements for the ensembles
he plays percussion in. Kevin's composition for FRAMEWORK combines precise
chamber writing with jazz forms and electronic colors. In 1992, Kevin
wrote the dance and incidental music for the critically acclaimed play,
"The Plot". His current composition work includes work for his quintet
(Drums&vibes, cello, two woodwinds and bass), various duo pieces (for
guitar and marimba, piano and percussion, sax and vibes, cello and percussion)
and trio pieces for unspecified instrumentation. The pieces may be
totally notated / through composed or use directed improvisation with written
material as a focal point, but always offer an emotional intensity.
Upcoming projects include a recording of Kevin's ensemble works, (with
the Kevin Norton Ensemble) which includes "Three Movements for Solo Clarinet
and Ensemble" a clarinet concerto written for renown David Krakauer and
the Kevin Norton Ensemble, a solo percussion recording and a recording
of compositions for various instrumental combinations. |
ESSAY
To begin speaking of my working process and
my music's evolution, I would like to use my recently completed CD Knots
- The Kevin Norton Ensemble(Music & Arts CD-1033) and the previously
released Integrated Variables - The Kevin Norton Trio (CIMP #121)
as a starting point.
Taoist ideas ask us to accept contrasts: opposing
views, contradictions: "jazz and "classical", improvisation and composition,
seriousness and fun, atonality and folk forms, etc.
To over simplify, my work is about combining
the mostly "classical" concept of totally shaping sound over real time
by precise notation and the mostly "jazz" concept of letting virtuoso players
determine the shape of the sound within a predetermined framework. I put
the words jazz and classical in quotations because the terms are inadequate,
but many people will understand what I'm getting at.
It seems to me that the concept of form
is a central issue. Many jazz musicians, especially coming after
the remarkable saxophonist Charlie Parker, work mostly with a kind of "theme
and variations" type of form. The improvisations over a repeating
series of chord changes display the soloists technical virtuosity and melodic/harmonic
inventiveness. The improvisations can, under great conditions, provide
a broad emotional scope to a piece with a very simple overall structure.
The challenge to a composer, especially a "classical" composer is for a
music that is totally written out to achieve music with this great emotional
arc.
On the other hand the "classical" composer,
especially educated (self or institutionally), is conversant in a wide
variety of formal structures: two-part inventions to grand opera.
Folk song form, binary form, to complex serial developments. The challenge
to the knowing jazz musician is extend the concept of freedom and expansion
to different structural possibilities and not always be locked into a jazz-quartet
orchestration where all four musicians play all the time or using melody-improvisation-melody
form as the only modus operandi, for instance.
Form to the "free improviser" is yet another
idea. Derek Bailey states: "Most music form is simple, not to say
simple minded. But generally speaking improvisors don't avail themselves
of the many 'frameworks' on offer. They seem to prefer formlesness.
More accurately, they prefer the music to dictate it's own form."
At this time, I prefer a small to medium sized
platform for my compositions. The classical composer in me sees a
vast range of possibilities: from written solo and duo pieces to 6 voice
fugue-like compositions and everything in between, with formal structures
being limited only by imagination. The jazz composer in me sees the
possibilities of mining the rich traditional vocabularies of the bass,
drums, vibes and saxophones with a twist...the cello, while not a staple
of jazz, possesses tremendous sonic and emotional scope. And yes I like
to swing straight ahead sometimes. The free improvisor in me is very
happy to share the direction of the music with other creative minds: Integrated
Variables is a great testament to that.
Quan-Yin, recorded on Integrated Variables,
(with George Cartwright and Mark Dresser) is an earlier attempt to bring
through composed, collage form, and free improvisation together. The piece
could be for any combination of instruments (though I think three
melodic instruments would be the smallest amount) using the appropriate
pages of music: concert, bass clef, Bb,/Eb, etc. I wrote the following
text to accompany the three pages of musical notation:
"Quan Yin" is for 3-6 melodic instruments.
"Quan Yin" is divided into three sections,
but moves from section to section without pause. Material within
one section can be repeated at any time. Once you move onto the next
section use only the material in that section. The idea is to play
the material in any order to achieve a free counterpoint. "Free" improvisation
is allowed only if it stays within the "feel" of the piece. This
piece should never become loud, "temper tantrum" type "free" jazz.
The length of the piece is open, an average length might be between 3-6
minutes. The piece is over when, in free improvisation style, it feels
like it's over.
Back to the idea of contrasts: my work seems
to be going in two opposing directions at the same time: 1) more through
composed, explicitly notated material and 2) more freely improvised areas
with the performers (virtuosi) are choosing their approach to suggestive
material.
If I were to try to point out contrasts of
approach in my music, already existing, I would point to Strange Way
(the 2nd movement of Three Movements for Solo Clarinet and Ensemble
recorded on Knots) which is totally written out; and Woods
(also on Knots) which has only two short "themes" but in some realizations,
comes very close to being totally improvised.
The following paragraphs, briefly describe
some of the compositions on The Kevin Norton Ensemble's CD Knots.
Knots has taken different settings over a few
years. The first "version" was for an ensemble of mine that consisted
of Ikue Mori, Ben Neill, Laura Seaton and myself. Next it resurfaces on
Integrated Variables . George and Mark are such great improvisers
I thought that might be the definitive version but we in the KN ensemble
had yet another spin on it. On this piece (as on Asa Nisi Masa and Barking
Hoop) the group demonstrates how successful collective improvisation can
work. Both Knots and Woods were part of through composed pieces.
Musicians approached the through composed versions differently than the
versions that encouraged improvisation. When every note is written out
players can get involved in precision. When these pieces were opened up
to the players a counterpoint; complex, intuitive and honest (like
African drumming or Bulgarian/Hungarian folk music?) presented new possibilities
Hammer or Anvil? reminds me of how much I
love E. Varese's singular music. One thing that I have tried to continually
do in this group is use all the possible intrumental combinations possible.
So we move from a full ensemble sound with vibes to a cello bass duo with
the drums entering gradually. Every time we play this piece the bass
clarinet solo takes on a different quality. We never know where Bob
is going to take and this time is no exception, but I believe in free speech.
This piece uses a simple metric modulation.
This arrangement of Monk's Epistrophy
uses original material in the beginning and end and a transcribed Monk
solo in lieu of an "in-head." The beginning of my arrangement of
Epistrophy may use 12-tone techniques (for about 20 bars) but it is very
singable. I also fragment the familiar quarter note triplet rhythm (in
the bass and left hand of the piano) for motivic use. On arrangements of
MONK's music: I once played in a band that not only simplified, but
almost sterilized some of his compositions.
Recently, my piece Three Movements for Solo
Clarinet and Ensemble , pushes the contrasts further along than before.
The piece came about in a wonderfully organic way. I have played
with David Krakauer, mostly as a member of his Klezmer Madness group, for
at least seven years. I felt that we played very well together,
very emotional, yet always hyper aware of form and dynamics.
The "Three Lives" movement was inspired by
a concert I heard by Ikue Mori, Davey Williams and Jim Staley, three very
deep musicians who keep offering original music.
Strange Way... has very personally meanings
to me, but I will say that everybody's part is totally written out, (David
Krakauer plays his tricky part with incredible skill) with certain themes
being developed from beginning to end.
Camus's Question is also very personal:
partially a reflection on the loss of my parents and of course, a
reference to the question that Albert Camus asks in the beginning of The
Myth of Sisyphus. The opening duet between David and I is totally
improvised, over the bulgar rhythm. This is something that we've together
done many times. I'm always amazed when I listen to this performance how
little I had to say about how to approach it. Maybe it is because
of David Krakauer's love for Duke Ellington that even the written parts
especially at the end of this movement have a funky improvised sound to
them. This maybe my favorite track on the CD.
The music to Woods contains some very simple thematic
material. The players are encouraged to improvise, but to leave space
for the designated focus instrument (s). I feel this piece is a meeting
point for the AACM and Morton Feldman.
Walking the Dogma has also been recorded by
Framework (me, Erik Friedlander and Laura Seaton) and Big Trouble.
I liked those versions of course, but this band has always, very
skillfully, taken more chances: we never know where it will take
us. The improvised backgrounds are an example of the team work
fueled by great listening skills. All the soloists in this ensemble play
sensitively: lyrical or aggressively as split second suggests.
In Balance to my mind is influenced
by a number of things and I don't care if they are not supposed to work
together. (i.e. Stravinsky's octatonic counterpoint, Brahms, the
poetry of W.B. Yeats, funk and free improvisation)
Brilliant Corners (by Thelonious Monk)
My playing of Mark Dresser's tune Digestiveo, in his quartet with Earl
Howard (or Tim Berne) and Denman Maroney was the inspiration for this arrangement.
Through a series of meter and subdivision changes, the listener will hear
a complex, yet flowing impression that the tempo is constantly changing
(and with a beautiful melody) in 12 bar blues form. Clever fellow
that Mark Dresser. I wanted to arrange another Monk tune (I'm constantly
practicing them on vibes) for the KN Ensemble. Somehow the fact that Brilliant
Corners which already contains a metric modulation (the form always
goes from "regular" speed to "double time") met up with this Mark Dresser
idea...so taking the place of the "regular time" section we play in 4/4,
3/4, and 6/4 all sounding a little like 4/4 in different tempos.
Barking Hoop is free association:
I love playing this African sounding 9/8, but I've also loved the Scherzo
sections of the Beethoven symphonies. More free associations are on the
way. The title is also a free association from memories of an argument
and basketball game that didn't take place. I don't know how that rap/rock
section got in there. I love Bob's repeated motive at the very end.
Ringing Impulse Goes Through several
different "feels" before settling into a repeated chord change section,
something I have avoided in my compositions in the past. Bob negotiated
the "strange changes" with remarkable skill. The out head is
different from the in head and goes through more meter changes
Asa Nisi Masa takes it's title from
a beautiful scene in Fellini's "8 1/2", though I've heard that it is an
Italian children's game. This reflects my interest in folk music,
simpler harmonies. The collective improvisation, to me, is in the spirit
of the children collectively singing in that scene.
My composition Three Movements for Solo Clarinet
and Ensemble is essentially a clarinet concerto for David Krakauer
and my band. I would like to write a piece like "Three Movements..." for
Anthony Braxton and my band especially for this upcoming Tri-Centric festival.
That's the plan.
I started the "artist notes" to my trio recording
(Integrated Variables CIMP #121) by saying: "Greetings and salutations
from a basement somewhere in New Jersey." I'm still in the basement;
practicing, composing and sharing music with some of the most talented
people on earth.
As far as I'm concerned though the musical
objectives of Integrated Variables and Knots may have been slightly different,
they were both guerrilla operations. Soon it will be time to buy
another big bag of brown rice and plot the next operation. You won't
see me, I'll be back down in the basement.
Kevin Norton compositions on Integrated Variables (CIMP #121):
The Scream, On Short Notice, Knots, Quan-Yin.
Kevin Norton compositions on Knots (Music & Arts CD-1033):
Knots , Hammer or Anvil?, Three Movements for Solo Clarinet and Ensemble,
Woods, Walking the Dogma, In Balance, Barking Hoop, Ringing Impulse, Asa
Nisi Masa
Other Discs with Kevin Norton compositions:
"FRAMEWORK" Kevin Norton, Laura Seaton, Erik Friedlander
Newport Premier NPD 85522 compositions: "Wolfe Tone" "Walking the Dogma"
"Barking Hoop"
Phillip Johnston "Big Trouble" Black Saint Records
120152-2 composition: "Walking the Dogma"
Phillip Johnston's Big Trouble- "Flood at the Ant Farm" Black
Saint Records 120182-2 composition: "The Enduring Heart"
Ankle To Nose (with Nick Didkovsky and Gitta Shafer) AMF 1048
composition: "Uncommon Sense"
Selected Compositions (as yet, unrecorded)
Duality - for piano, trombone, cello and percussion
Kenneth, What is the Frequency? - for violin, cello, percussion and
electronics.
Humper's Task - for two percussionists and electric guitar
Yearning (Secret Life) - for accordian, vibes and percussion
Don't Look Back Today - for piano and percussion
Gizmo - for violin, cello and percussion
Gizmo #2 - for cello and percussion
Variations 2 - for small orchestra
Thank you Mark Dresser and George Cartwright for Integrated Variables.
Thank you Bob DeBellis, Joe Fonda, Tomas Ulrich, David Bindman and
David Krakauer for Knots.
Thank you Anthony Braxton, Brandon Evans, Kevin O'Neill, Jackson Moore,
James Fei, Seth Misterka, Taylor Ho-Bynum, Andre Vida (and all the other
musicians whose names I'm spacing on right now) for brighter future.
DISCOGRAPHY
The Kevin Norton Trio "Integrated Variables" Creative Improvised Music
Projects (CIMP #121)
The Kevin Norton Ensemble "KNOTS" (Music and Arts CD-1033)
"FRAMEWORK" (K. Norton, E. Friedlander, L.Seaton) Newport Premier NPD
85522
Ankel To Nose (with Gitta Shafer Nick Didkovsky and Kevin Norton) AMF
1048
Milt Hinton "The Judge's Decision" Exposure 6231910
Anthony Braxton "Four Compositions: Quartet, August 19,1995" Braxton
House BH-005
Anthony Braxton "Octet (New York) 1995" BH-006
Anthony Braxton "Ensemble (New York) 1995" BH-007
Anthony Braxton "Performance: Compositions No. 185/186 Istanbul, October1995"
Braxton House BH 001
Anthony Braxton "Composition 193 (Tentet)" - BH 004
David Bindman Trio "Imaginings" CIMP#151
Marie McAuliffe's Ark Sextet Koch Jazz KOC-CD-7859
Marie McAuliffe "The Music of Burt Bacharach" Avant forthcoming
David Krakauer's Klezmer Madness "Klezmer New York" TZADIK forthcoming
Brandon Evans "Elliptical Transfiguration" CIMP# 135
Brandon Evans "Recurring Moons; Quartet 1997" Parallactic Recordings
PARACT 01
Brandon Evans "Compositions for Creative Orchestra" Parallactic
forthcoming
Brandon Evans "Compositions for Quintet, Knitting Factory" forthcoming
Jeffrey Schanzer "No More In Thrall" CRI recordings CD 748
Frank London "The Debt" (music composed for films) Tzadik 7507
Scott Miller/Joe Fonda "Bottoms Out" Cadence forthcoming
James Emery Septet forthcoming Enja
Phillip Johnston's Big Trouble- "Flood at the Ant Farm" Black Saint
120182-2
Phillip Johnston "Big Trouble" Black Saint Records 120152-2
Phillip Johnston's Big Trouble "The Unknown" Avant / DIW
Avan-037
Tyronne Henderson "No Comment" Atonal Reords ACD 3024
Fred Frith "Step Across the Border" East Side Digital ESD 80462
Soldier String Quartet "Sojourner Truth" Newport Classic NPD
85508
Apperances on Compilation CD's:
Marie McAuliffe "Great Jewish Music: Burt Bacharach" Tzadik 7114-2
Fred Lonberg-Holm "The Beatles Live at the Knitting Factory" KnittingFactory
Works KFWCD-113
Framework "Live at the Knitting Factory, Volume 4" A&M 75021
5332 2
David Krakauer's Klezmer Madness The Jewish Alternative Movement -
A guide for the Perplexed Knitting Factory Works KFR 216