The award-winning, multimedia hub “I Care If You Listen” has written a wonderful review of Ensemble Pi’s “Reparations Now” concert, where my pierrot ensemble piece “The Pattern,” premiered. Of my piece Jillian Degroot wrote:
“Much like the effect of this startling truth, the small ensemble immediately erupted into cacophony. The violin (Airi Yoshioka) and cello (Alexis Gerlach), followed closely by the flute (Loggins-Hull) and clarinet (Moran Katz), settled into anxious tremolos. Tones bled downward in pitch bends as conductor Raquel Klein sensitively cued soloistic laments from players throughout the ensemble. Moments of hope blossomed before returning once more to chaos—a potent metaphor for the systemic white supremacy enacted on Black Americans since 1619.“
I had a fantastic conversation with the great radio personality and “classical music agitator” Garrett McQueen on his podcast, Trilloquy. Joined by Idith Korman of Ensemble Pi, we talked about their upcoming concert “Reparations Now” and my new piece for the performance called, “The Pattern,” along with the meaning of reparations and the many patterns of white supremacy. The conversation was rich and illuminating, and I do hope you will all take a listen!
It was just a joy to chat with my friend and flutist Tim Hagen on his wonderful, new podcast, Rally. Each episode of Rally features a conversation with a different working professional about their journey and the role resilience has played in their life. I had the opportunity to talk to Tim about everything from early influences, second jobs, failures, and successes. I’m so proud of Tim and his inspiring podcast, take a listen!
I had a blast talking and sharing music with Tarik Ghiradella and Anna Linvill of WHUP’s “Composer’s Studio.” This show features live performances and conversations with living classical composers and musicians about music, life, and what’s happening in the genre defying world of classical music today. “Composer’s Studio” is a place where living art is made, a place without boundaries where inspiration can come from anywhere from birdsong to heavy metal, Vivaldi to the hum of a vacuum cleaner. Classical composers today are no longer confined to the concert stage or the cathedral but contribute to film scores, television commercials, video game soundtracks and beyond. With special emphasis on the local scene, this is a classical music show like none you have ever heard. Listen to the full episode here!
I had the immense pleasure of co-producing Nathalie’s new album “Fanm d’Ayiti” and it has finally arrived! It’s like Christmas in August! Read the full press release below, and get ye to Bandcamp, Spotify, Apple Music, or your preferred digital platform to buy and stream the full album today. For all of the audiophiles out there, the album is also available on vinyland sounds simply delicious. Thanks for supporting, and enjoy the music!
“a unique mixture of classical music, electronic programming, hip-hop, neo-rhythm & blues and folkloric elements rooted in the Haitian cultural heritage.”
– El Intruso
“For a very long time I didn’t feel comfortable calling myself a composer, because the people for whom that title was reserved did not look, or live, or create music that was anything like mine.”
– 15 Questions with Nathalie Joachim
New Amsterdam Records is excited to release Fanm d’Ayiti, the debut solo album fromHaitian-American composer, flutist, and vocalist Nathalie Joachim. The album, which translates to Women of Haiti in English, shows Joachim exploring her Haitian heritage and celebrating the songs and stories of some of Haiti’s most iconic yet under-recognized female artists. The songs on Fanm d’Ayiti were all written or arranged by Joachim and feature her performing on vocals, flute, and electronics alongside the Grammy-nominated string ensemble Spektral Quartet.
Fanm d’Ayiti features the powerful Haitian female voices from yesterday and today, including the recorded voices of Joachim’s grandmother, the girls choir of Joachim’s family’s home farming village of Dantan, and conversations with Emerante de Pradines, a prized voice of Haiti’s Golden Age; Milena Sandler, daughter of the late, famed chanteuse Toto Bissainthe; and celebrated vodou songstress Carole Demesmin.
Fanm d’Ayiti began in 2015, shortly after the passing of Joachim’s maternal grandmother. Joachim explains:
“She and I spent many a cherished moment underneath the mango and coconut trees in her yard in Haiti – and in my childhood home in America – singing songs with one another. It was our way of telling each other stories, and her way of passing on a centuries-long cultural practice of oral history. Her absence ignited a deep desire for understanding in me. In what ways did our voices connect with the voices of other Haitian women? What did our songs tell us about our past, and what might they mean for the future? The foundation of Fanm d’Ayiti began to reveal itself readily through conversation: with my family, and with others willing to share their piece of our cultural puzzle.”
These exchanges led Joachim to learn about and honor the dozens of Haitian female artists who were each committed to carrying forward the story of the first free black republic, who used their voices to uplift future generations by celebrating the nation’s strength.
“I feel lucky to be joining my voice with theirs,” continues Joachim, “and bringing listeners a sonic portfolio of my originals and arrangements of historic Haitian songs, woven together in a musical celebration of activism and hope.”
09/13/19 — Chicago, IL @ Black Ensemble Theater (Chicago premiere and album release) LINK
10/26/19 — New York, NY @ Kaufman Music Center / Ecstatic Music series (NYC debut and album release) LINK
01/10/20 — Chapel Hill, NC @ Carolina Performing Arts at UNC LINK
02/19/20 — College Park, MD @ Clarice Smith Center at UMD LINK