Our next interview is with multiple resident, Teri Ann Quinn. This is Teri's second workshop as a clarinetist and her first as a composer. It takes a brave soul to wait until the Gamelan workshop to bring in your first piece.
Where are you from and how did you end up in Kansas City?
I am from a small farm town called Sparta right outside Grand Rapids Michigan. I came to Kansas City back in 2009 to finish my bachelor’s degree in clarinet performance. However, I promptly switched my major to composition after my eyes and ears were opened in a composition 101 course.
Who are your musical heroes and why?
I have favorite bands and songwriters whose music consistently gets me going and inspires the frame work as well as the title for most of my pieces. Such as: Interpol, Wilco, The Mars-Volta, Godspeed You! Black Emperor, Sigur Ros, Mark Kozelek (Sun Kil Moon), Jeff Buckley, Fionn Regan, Gillian Welch, Feist. (These are a few of my long time staples.) However, when it comes to heroes, I would say all of my friends and colleagues here in Kansas City. Such talent! All of my friends are either composer/performer/singer-songwriters or in a band/ensemble of some sort. I have had the privilege of making music with most of them. All of them are inspiring and make me strive to be a better composer and performer. There are some big dogs here in Kansas City that I hope to be like when I grow up!
How much jazz experience do you have?
Honestly, very little. I mean, I was in jazz band in high school on tenor sax. I was pretty into it. But then I discovered the beast that is the bass clarinet and ended up playing in a youth symphony, which fueled my decision of studying to be an orchestral clarinetist. I joined a less than mediocre jazz band at a community college back in Grand Rapids, but that was only because I was chasing the drummer.
Where do you see yourself going with your music?
I see myself going all sorts of places. I feel I am constantly collaborating with other artists. I see myself being in and writing for ensembles such as Black House. I would like to put together ensembles and write with the intent of playing at different venues around the city. I am really getting in to the Jazz scene here in Kansas City and it has been freeing to both my mind and ears. This is something I would like to pursue more of, performance wise as well as compositionally. I have also been really getting in to electronic music. I would like to incorporate that into my singer/songwriting as well as other things if the opportunities arise. I don’t see myself writing ‘academically’. By that I mean, writing for string quartets and wind ensembles. I believe I will always be out there somewhere doing something collaborative, new, and possibly exciting.
This is your first time writing a piece for Black House. What has the experience been like?
The experience has been both terrifying and amazing. This is the first time I have written a piece for an ensemble of this sort. Not to mention the Gamelan. I decided to take a leap and throw myself into the fire and write. The great thing about writing for Black House is the instant feedback. I feel this is the best way to learn and grow as a composer. I feel myself tense up and become tongue tied when it comes time to rehearse my piece but everyone has been wonderful to work with. The musicianship in the ensemble has been a real treat. This group doesn’t mess around. I am happy and excited with how everything has turned out and can’t wait for the concert! I definitely plan on writing more for this group.
How familiar with gamelan were you before this workshop?
Not familiar at all. Well, I did take a world music class. By that I mean an Asian music class. I was introduced to gamelan then but it was brief. I saw the Gamelan ensemble perform once at an Art Sounds concert and thought it was really neat. But I didn’t know anything about writing for gamelan or the pitches/rhythm that makes it unique. I also didn’t know how hard it was going to be combining western instruments with the gamelan ensemble. These instruments have a unique tuning system that seems to shimmer and envelope the room. It has been real interesting trying to make it work with the Black House ensemble. However, although this is the first time Black House has collaborated like this, I feel it has been pulled off pretty well.
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