Turning fifty is a significant milestone, prompting reflection on past achievements and future paths. For pianist and composer Ethan Iverson, this landmark birthday offers a moment to consider his diverse career, from his early jazz experiences in Wisconsin to his pivotal role as musical director for the Mark Morris Dance Group and his groundbreaking work with The Bad Plus. Looking ahead, Iverson anticipates his upcoming second Blue Note album, explorations in extended compositions, and, most immediately, a special birthday celebration at the renowned Jazz Gallery in New York City.
The sold-out Friday, February 3rd performance will showcase Iverson in a trio setting with jazz luminaries Billy Hart and Buster Williams. The following evening, Saturday, February 4th, will feature a unique septet performance. This ensemble will bring together creative musical collaborators from his extensive experience in the dance world, including Jonathan Finlayson, Sam Newsome, Jacob Garchik, Rob Schwimmer, Simón Willson, and Vinnie Sperrazza, along with surprise special guests. We had the opportunity to speak with Iverson about these highly anticipated birthday concerts, his notable musical journey, and what lies on the horizon.
The Jazz Gallery: How did the concept for these 50th birthday concerts come to life?
Ethan Iverson: Let’s start with the larger group, the septet. Currently, a significant part of my professional life involves touring with the Mark Morris Dance Group. I compose and arrange music for two of Mark’s major dance productions. One is ‘Pepperland,’ a vibrant exploration of the music of the Beatles. The other is ‘The Look of Love’, a piece centered around the timeless compositions of Burt Bacharach. Both of these productions feature an incredible array of jazz musicians, many of whom I don’t typically collaborate with outside of these specific dance projects. For this septet, I wanted to bring together a core group of the jazz musicians who have been part of these dance performances. I envisioned it as a joyous and unique musical event, a kind of Birthday Dance celebration bringing together different facets of my musical life.
It’s also a way to highlight a part of my work that isn’t always in the spotlight for jazz audiences but is deeply important to me and consumes a considerable amount of my time. Both ‘Pepperland’ and ‘Look of Love’ are currently touring extensively throughout January and February. ‘Pepperland’ alone has about eighty performances scheduled. ‘The Look of Love’ is a brand-new piece, and we’ve already performed it around ten times, including a very well-received run at the Kennedy Center.
TJG: Your history with dance goes back further, as you served as the musical director for Mark Morris’ Dance Group from 1997 to 2001.
EI: Yes, that’s right. It was a formative period in my career.
TJG: Historically, jazz and dance have been closely intertwined, but it seems that over time, a gap has emerged between the two.
EI: I think there’s a resurgence of that connection, particularly with musicians emerging from the London jazz scene, artists like Shabaka Hutchings, and also figures like Kamasi Washington in the US. There’s a palpable link between Black dance culture and the spiritual depth of musicians like John Coltrane. These artists seem to be tapping into that vital connection.
I’m a strong advocate for reintegrating dance elements into jazz music. It’s true that my core jazz sensibilities, what I grew up with and what I naturally gravitate towards as a player, are quite esoteric, focused on pure musical exploration. I’m currently having an incredible musical experience playing with Billy Hart’s quartet, and it’s primarily concert music, not directly intended for dance. However, even in that context, there’s an undeniable element of dance in Billy’s drumming, a glorious sense of swing and rhythm. Some might call it swing, others might call it ecstasy. Whatever the term, Billy possesses it, and he brings that energy to even the most abstract concert settings.
TJG: How do you believe your experiences composing and performing music for dance have influenced your music outside of the dance world?
EI: Well, unless you possess a natural rhythmic gift like Billy Hart, training in playing for dance can be incredibly beneficial. If achieving that deep sense of swing isn’t your innate strength—and it certainly wasn’t mine initially—working with dance productions helps cultivate a grounded rhythmic sensibility. Long before I began working with Mark Morris, I was deeply immersed in the world of jazz, a dedicated jazz nerd. I still am. But my time with Mark taught me invaluable lessons about the broader scope of communicative art. I believe that experience shaped my ability to perform with The Bad Plus in front of large audiences, connecting with listeners on a visceral level. Mark’s influence helped me learn how to ignite that kind of artistic fire that resonates with a wide range of people.
TJG: Speaking of The Bad Plus, as you celebrate your fiftieth birthday, this year also marks the twentieth anniversary of that band’s seminal album, These are the Vistas (Columbia, 2003). Looking back, what are your reflections on that album two decades later?
EI: I recently heard the album on the radio, and I was genuinely impressed by how well it has aged. It still sounds vibrant and relevant to me. It was quite provocative when it was released. And because it was genuinely pushing boundaries, it retains a sense of freshness even now.
TJG: Were you surprised by the significant attention the album received, particularly your interpretation of “Smells Like Teen Spirit”?
EI: Absolutely surprised. I had no expectation that we would achieve the level of success we did. Columbia Records signed us because we had already generated significant buzz through our live performances. We were relatively unknown, but audiences consistently responded enthusiastically to our gigs. Columbia recognized the band’s live potential and translated that into the album. But it was still fundamentally a piano trio playing what could be considered avant-garde music, which isn’t typically a recipe for mainstream success. I vividly remember the surreal moment of seeing These are the Vistas displayed in the lightbox at Tower Records on West Fourth Street, positioned alongside major pop releases. It was truly shocking to see something I had created garnering that level of recognition.
TJG: You departed from The Bad Plus in 2018. How do you feel your musical path has evolved since leaving the group?
EI: Leaving The Bad Plus was a significant risk because establishing a sustainable career in jazz is incredibly challenging. But ultimately, I felt it was a necessary step for my artistic growth. Since then, things have progressed very positively, and I have a wealth of musical projects and opportunities. I have no regrets about leaving The Bad Plus. The most crucial development for me has been a deeper exploration of music that swings more and is rooted in the jazz tradition.
TJG: This interest in swing seems to trace back to your formative years in Wisconsin. Was it challenging to access jazz music during that time?
EI: Yes, especially considering it was before the widespread accessibility of the internet. It’s remarkable now how easily you can listen to John Coltrane and instantly find a vast amount of information about him online. Back in the 1980s, growing up in rural Wisconsin, access to jazz music was limited.
TJG: So, how did you initially get exposed to jazz in that environment?
EI: Primarily through libraries and mail-order catalogs. My mother received the Publishers Clearing House catalog, and I remember it included a section listing budget-priced record albums. Those were the very first jazz records I ever ordered. I was playing piano in a restaurant and earning a decent amount of money for a high school student. I dedicated almost all of that money to buying records. That’s how I immersed myself in the world of jazz.
TJG: When did you decide to move to New York City?
EI: When it was time for college, I applied to only two institutions: New York University and The New School. I chose NYU, but my primary motivation for moving to New York was less about the specific college and more about being closer to the heart of jazz. New York remains the global epicenter of jazz. And in 1991, it was even more so.
TJG: In your early years in New York, you were involved with the New York Tango Trio. How did you become interested in playing tango music?
EI: The trio consisted of Raul Jaurena on bandoneon, Pablo Aslan on bass, and myself on piano. I played a lot of tango music for dance events with Pablo, and it was an incredibly enriching learning experience. Sadly, we lost Raul to COVID. But Pablo is still active and is a phenomenal bass player. They were incredibly patient and supportive of me, a gringo tango pianist learning the intricacies of the genre.
I joined the group after responding to an advertisement they placed seeking a tango pianist. I didn’t have a deep background in traditional tango. I admired Astor Piazzolla, who pioneered the nuevo tango style. But traditional ballroom tango is distinct from Piazzolla’s music. I quickly became captivated by it and played extensively for tango dances with Pablo and Raul. Looking back, between my work with Mark Morris and the tango trio, the majority of my gigs in my twenties were for dancers. In retrospect, that was invaluable training. You learn the importance of playing music that truly connects with people. Dancers are a particularly discerning audience. If you can move dancers, you can create compelling music for anyone.
TJG: Which brings us full circle to the septet performance you’re presenting at The Jazz Gallery. Are there plans to continue working with this group beyond this birthday celebration, or is it conceived as a one-time event?
EI: I wouldn’t rule out future collaborations. The musicians in this group are all exceptional. If the performance generates a real sense of magic, we might explore further possibilities. As of now, I envision it as a unique, one-off birthday dance event. But we’ll see what the future holds.
TJG: Will the septet’s repertoire consist primarily of original compositions?
EI: Yes, I anticipate the entire performance will be original material, with one possible exception. Rob Schwimmer, our theremin virtuoso, might be featured on a version of “‘Round Midnight.’” The theremin is such a captivating and unusual instrument, and Rob’s mastery of it is breathtaking. When he performs on the theremin, it’s truly captivating; audiences are invariably mesmerized.
TJG: Have you composed for the theremin extensively before?
EI: Not really. The theremin is quite a niche instrument. I did incorporate it into a piece for ‘Pepperland.’ But with the septet, I’m envisioning the trombone and theremin sharing a melodic line, contrasted with the saxophone and trumpet. This arrangement should create a compelling two-part counterpoint that will be very effective.
TJG: Even with more conventional instruments like the saxophone, Sam Newsome often pushes boundaries, experimenting with prepared saxophone techniques. Do you anticipate he might incorporate prepared saxophone into this performance?
EI: That’s entirely up to Sam and his artistic choices. If he decides to bring out his preparations, he’s absolutely welcome to explore those sonic textures.
TJG: As part of the septet evening, you will also be premiering a new “Prelude and Fugue” for piano. Can you share some insights into this composition?
EI: Over the past five or six years, I’ve increasingly focused on composing more structured, “formal” music, often in fully notated scores. I’ve recorded my first piano sonata for my forthcoming Blue Note record. The album is primarily a trio recording with Thomas Morgan and Kush Abadey, but it will also include this piano sonata. I hadn’t previously written a Prelude and Fugue and felt it was time to undertake that form. The Prelude is progressing well; I’m quite pleased with it. I’m still refining the Fugue. Currently, it might be a bit too dense, too many ideas competing within it. I need to streamline it, to embrace simplicity. Simpler is often more impactful.
TJG: The septet is just one component of your birthday weekend at The Jazz Gallery. The other is the trio performance with Billy Hart and Buster Williams. Was it always your intention to structure the weekend with a trio performance one night and a larger ensemble the next?
EI: No, that wasn’t the initial plan. After we finalized the septet performance for Saturday, Rio Sakairi, The Jazz Gallery’s Artistic Director, contacted me and inquired if I would be interested in performing the entire weekend. However, when I reached out to the other musicians in the septet, they weren’t available for Friday night. So, I started thinking about what would be the ideal birthday gift for myself. Buster Williams and Billy Hart represent one of the most legendary rhythm sections in jazz history. I frequently play with Billy, but opportunities to perform with Buster are rarer. They were both available and enthusiastic about playing a gig with me. That Friday trio performance is truly my birthday gift to myself. But it’s also a significant musical test to see if I can hold my own in that esteemed company, to engage in a musical birthday dance with these masters.
TJG: What kind of repertoire will the trio explore? Primarily standards?
EI: Yes, I anticipate focusing on standards and familiar material, perhaps with minimal or no original compositions. We’ll be drawing from the vast repertoire of tunes that we all know and love. I plan to curate a selection that truly showcases their individual brilliance and collective synergy. It will be common ground material, tunes that both Buster and Billy have likely recorded previously, perhaps even pieces they’ve recorded together. I jokingly suggested to Billy that we should play “Dolphin Dance.” I’m not sure if we actually will, but the prospect of hearing those two explore that piece together is incredibly exciting.
TJG: Finally, turning fifty is a moment to look not only backward but also forward. Are there any musical avenues you haven’t yet explored that you’re eager to pursue?
EI: I’m committed to dedicating more and more time to composing. I’ve been composing actively for several years now, although that aspect of my work isn’t always as visible in my recorded output. There are many notebooks filled with musical ideas and sketches from recent years, and I’m gaining increasing confidence and skill in composing extended works and pieces for larger ensembles, including big bands. I’m eager to delve deeper into those areas. And I’m already actively engaged in developing those types of projects. I feel incredibly fortunate to be where I am in my musical journey, I have no significant regrets about the past, and I’m genuinely excited about the creative possibilities of the future. It feels like the beginning of a new and exciting birthday dance into the next chapter.
The Ethan Iverson Trio with Billy Hart and Buster Williams on Friday, February 3, 2023, is sold-out. Tickets are still available for Iverson’s septet performance at The Jazz Gallery on Saturday, February 4, 2023, featuring Jonathan Finlayson, Sam Newsome, Jacob Garchik, Rob Schwimmer, Simón Willson, Vinnie Sperrazza, and special guests. Sets are at 7:30 and 9:30 P.M. $30 general admission ($15 for members/$10 for student members), $40 reserved cabaret seating ($20 for members) for each set. Saturday’s performance is also available on livestream for $20 ($5 for members). Purchase tickets here.
