STEVE COLEMAN

alto saxophone

composer

producer

computer music applications

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 began 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 during this time were 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 were ideas based on 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 that 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, at that time consisting of Steve Coleman and Greg Osby on alto saxophones, Joe Lovano and Craig Handy on tenor saxophones, Kenny Davis on bass and Yoron Israel 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, which together with philosophical studies with Thomas Goodwin, occupied 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), Candomblé (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 Carnatic music tradition. Steve and his group also gave workshops in the Brahavadhi Center headed by the renowned 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.


Steve's latest CD is entitled Lucidarium and was recorded in 2003 (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.


Much of the important segments of this activity from January 1996 on 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 scheduled for release in 2004-05.







GRANTS AND COMMISSIONS


American Composers Orchestra (ACO)

2007 - USA


Chicago World Music Festival Commission (Field Museum & Jazz Institute of Chicago)

2000 - USA


CalArts/Alpert Award in the Arts

2000 - USA


Commission from L'Institut de Recherche et de Coordination Acoustique/Musique (Ircam)

1999 - France


Art's International Grant for research/concert in Senegal

1997 - USA


Lila Wallace-Reader's Digest Fund

1996 - USA


National Endowment for the Arts (composition)

1995 - USA




BUSINESS EXPERIENCE


M-Base Collective

Founding Member

Creative music movement


Time Lord Records

President

Record company

C&M Music Productions Inc.

President

Record company

M-Base Concepts

President

Music publishing, sheet music and software development

Goemon Publishing Company

President

Music publishing




COLLABORATIVE CONCERTS WITH


Sam Rivers

Thad Jones-Mel Lewis Orchestra

David Murray

Mike Brecker

Abbey Lincoln

John Abercrombie

Jack DeJohnette

Branford Marsalis

Mongo Santa Maria

Dizzy Gillespie

Wynton Marsalis

Sting

Doug Hammond

Bobby McFerrin

Cecil Taylor

Dave Holland

Von Freeman

Sarah Vaughan

Ray Brown

Bunky Green

McCoy Tyner




SELECTED DISCOGRAPHY AS A PRODUCER AND LEADER



The Mancy of Sound
Steve Coleman and Five Elements
2011 Pi Recordings


Harvesting Semblances and Affinities

Steve Coleman and Five Elements

2010 Pi Recordings


Invisible Paths: First Scattering

Steve Coleman - Solo Saxophone

2007 Tzadik Records


Weaving Symbolics

Steve Coleman and Five Elements

2006 Label Bleu


Lucidarium

Steve Coleman and Five Elements

2004 Label Bleu


On the Rising of the 64 Paths

Steve Coleman and Five Elements

2003 Label Bleu


Alternate Dimension Series I

Steve Coleman and Five Elements

2002 Free CD to the Public


Resistance is Futile

Steve Coleman and Five Elements

2002 Label Bleu 

(2 CDs box set)


The Ascension to Light

Steve Coleman and Five Elements

2000 BMG/RCA Records


The Sonic Language of Myth: Believing, Learning, Knowing

Steve Coleman and Five Elements

1999 BMG/RCA Records


Genesis

Steve Coleman and The Council of Balance

1998 BMG/RCA Records

(part of a 2 CDs box set)


The Opening of the Way

Steve Coleman and Five Elements

1998 BMG/RCA Records

(part of a 2 CDs box set)


The Sign and the Seal

Steve Coleman and The Mystic Rhythm Society in collaboration with AfroCuba de Matanzas

1996 BMG/RCA Records


Steve Coleman Live in Paris at The Hot Brass Club

Steve Coleman with Mystic, Metrics and Elements

BMG/RCA 3-CD Box Set (contains the next 3 CDs)


Myths, Modes and Means

Steve Coleman and The Mystic Rhythm Society

1995 BMG/RCA Records


The Way of the Cipher

Steve Coleman and Metrics

1995 BMG/RCA Records


Curves of Life

Steve Coleman and Five Elements

1995 BMG/RCA Records


Def Trance Beat

Steve Coleman and Five Elements

1994 RCA/Novus Records


A Tale of 3 Cities

Steve Coleman and Metrics

1994 RCA/Novus Records


The Tao of Mad Phat

Steve Coleman and Five Elements

1993 RCA/Novus Records


Drop Kick

Steve Coleman and Five Elements

1992 RCA/Novus Records


Black Science

Steve Coleman and Five Elements

1991 RCA/Novus Records


Rhythm People

Steve Coleman and Five Elements

1990 RCA/Novus Records


Sine Die

Steve Coleman and Five Elements

1988 Pangaea Records


World Expansion

Steve Coleman and Five Elements

1987 JMT Records


On the Edge of Tomorrow

Steve Coleman and Five Elements

1986 JMT Records


Motherland Pulse

Steve Coleman and his group

1985 JMT Records




SELECTED DISCOGRAPHY AS A PRODUCER


Another Place

Bunky Green

2006 Label Blue


Inspiration

Sam Rivers' RivBea All-Star Orchestra

1999 BMG/RCA Records


Culmination

Sam Rivers' RivBea All-Star Orchestra

1999 BMG/RCA Records


Moving Pictures

Ravi Coltrane

1998 RCA/Novus Records


Rhythm in Mind

Steve Coleman

1992 RCA/Novus Records


Anatomy of a Groove

The M-Base Collective

1992 Rebel-X Records


Phase-Space

Steve Coleman & Dave Holland Duo 

1991 Rebel-X Records


Transmigration 

Strata Institute

1991 Rebel-X Records


A Waltz for Grace

Steve Williamson

1990 Polydor Records


JumpWorld

Cassandra Wilson

1989 JMT Records


Cipher Syntax

Strata Institute

1989 Polydor KK


Days Aweigh

Cassandra Wilson

1987 JMT Records


In the Middle

Geri Allen

1987 Minor Music


Point of View  

Cassandra Wilson

1986 JMT Records




SELECTED DISCOGRAPHY AS A SIDEMAN


Traveling Miles

Cassandra Wilson

1999 Blue Note Records


Man-Talk for Moderns, Vol.X

Greg Osby

1991 Blue Note Records


Extensions

Dave Holland

1990 ECM Records


The Road Less Traveled

Marvin Smitty Smith

1989 Concord Records


Triplicate

Dave Holland

1988 ECM Records


Keeper of the Drums

Marvin Smitty Smith

1987 Concord Records


The Razors Edge

Dave Holland

1987 ECM Records


Seeds of Time

Dave Holland

1985 ECM Records


Jumpin In

Dave Holland

1984 ECM Records


Scenes of the City

Branford Marsalis

1984 CBS Records


Talkin to the Sun

Abbey Lincoln

1984 Enja Records


Perspicuity

Doug Hammond

1982


Spaces

Doug Hammond

1982 Idibib Records




TEACHING EXPERIENCE

(Improvisation, Saxophone, Composition, Ensemble, Computer Programming, Computer Music Applications & Music Business)


Workshops (worldwide)

Clinician

1996-present


Lucerne University of Applied Sciences and Arts

Artist-in-residence

2009-2010


The Jazz Gallery

Clinician

2004-2010


Thelonius Monk Institute

Artist-in-residence

2008-2009


University of CA at Berkeley

Associate Professor

2000-2002


Stanford Jazz Workshop

Faculty Member

1995-1996


Banff School of Fine Arts

Artistic Head

1990-1991


Banff School of Fine Arts

Faculty Member

1985-1989


BUSINESS EXPERIENCE


M-Base Collective

Founding Member

Creative music movement


Time Lord Records

President

Record company


C&M Music Productions Inc.

President

Record company


M-Base Concepts

President

Music publishing, sheet music and software development


Goemon Publishing Company

President

Music publishing