Steve Hirsh: "About Me

I come from a non-musical family. But every week growing up, I'd get my allowance and go to the local record store to pick up the latest hit. At 10 years old, I started guitar lessons at a neighborhood community center. I wanted to learn Beatles tunes but instead found myself learning classical guitar. I wasn't into it and stopped after a year. Then in junior high, I had a band/orchestra class. I started off playing alto sax. But in the summer after my first year, I got braces on my teeth and my orthodontist told my mother that playing a reed instrument would be bad for my overbite. So in my second year, I started on drums because I figured it would be the easiest instrument to catch up on. The bug bit me then, and I would spend hours playing along to records on my snare drum.

I went to a specialized public high school in New York City that focused on math and science. They had no music classes, except for a single music appreciation class that dealt entirely with European classical music. There was one Black girl in my class (!). One day she asked the teacher why he didn't teach anything about jazz and Miles Davis and John Coltrane. That was the first time I heard those names. The teacher said something dismissive and moved on.

Somewhere around there I got my first drum set and was trying to figure out how to play it. One day in the library, I was thumbing through the record collection and came across Kind of Blue and Blue Trane. I remembered hearing Miles' and Trane's names and took the records home. I was astounded by what I heard, particularly drummer Philly Joe Jones on Blue Trane. I had no idea what or how he was playing and could hardly believe that there was only 1 drummer.

Over the next 10 or so years, I dove deeper and deeper into the music. I worked forwards and backwards - Bitches Brew-era Miles, and late John Coltrane, and Max and Bird and then everyone in between, and then back to Basie and Ellington and Papa Jo Jones. I was playing in rock and blues bands and saw jazz drumming as beyond my abilities. After my 2nd year of college, I told my parents that I wanted to transfer to Berklee College of Music. But I had no one to help me navigate that change and I was unable to do it myself. Eventually, I just quit college, moved to California, and started playing in bands. I wound up hanging out and then working at Keystone Korner. I saw everyone there - Dexter Gordon, Max Roach, Art Blakey, Rhasaan Roland Kirk, Stan Getz, Mary Lou Williamson, the house band with George Cables and Eddie Marshal, Billy Higgins, Woody Shaw, Elvin Jones. And I started trying to play the music. But eventually, I quit playing for a variety of reasons, including the inability to believe I could really ever play it well and authentically, and the need to get away from the drug scene (this was San Francisco in the mid-'70s). But I never stopped listening, and eventually went back to playing in rock and blues bands.

I quit playing again in the early 80s but then picked it back up 20 years later when I bought my son a drum set. I bought it for him, then took it over (I sat down behind it to check it out and didn't come out for a week.). I've been playing steadily since then. I played a lot of straight-ahead jazz gigs, a lot of dinner jazz. But I always had a taste for the more outside sounds, and for the last few years, that's exclusively what I've been playing.

I have led several improvising ensembles in the last few years, and have played most of the Twin Cities venues that are open to this music, including Khyber Pass Cafe, The Icehouse, Jazz Central Studios, The Cedar Cultural Center, and Grand Oak Opry. I started a regular series at the East Side Freedom Library in St. Paul, featuring my groups and other improvising ensembles. I also hosted a weekly open session there, where anyone could come and gain experience improvising with experienced players.

I've played with (among others) William Parker, Joel Futterman, Eri Yamamoto, Matthew Shipp, Ivo Perelman, Luke Stewart, Douglas Ewart, Babatunde Lea, George Cartwright, Donald Washington, Chad Fowler, Zoh Amba, Brad Holden, Dick Studer, Josh Granowski, Matt Trice, Kavyesh Kaviraj, and DeVon Russell Grey.

In the past year, with the isolation of the pandemic and the near-total loss of performance opportunities, I have become involved in several remote collaborations, with both old and new friends. There are a few of those on the Recordings page, if you're curious.

My latest releases are Ebb & Flow, with Joel Futterman and Chad Fowler, Notice That There, with Geirge Cartwright, Chad Fowler, Christopher Parker and Kelley Hurt, Warp & Weft, a collaboration with the extraordinary pianist Joel Futterman, Two Five None, a duo with Chad Fowler, and You Know When It's Time by Original Mind, all on Mahakala Music https://mahakalamusic.bandcamp.com/. There's more stuff coming - follow me on Bandcamp, follow Mahakala Music, and send me a note asking to be added to my email list.

I endorse Canopus drums and Bosphorus cymbals. Beautiful instruments I'm lucky to play.

Born and raised in New York City, I now make my home in the woods of Northern Minnesota."

"Born in Newark, NJ, Steve Swell has been an active member of the NYC music community since 1975. He has toured and recorded with many artists from mainstreamers such as Lionel Hampton and Buddy Rich to so called outsiders as Anthony Braxton, Bill Dixon, Cecil Taylor and William Parker. He has over 40 CDs as a leader or co-leader and is a featured artists on more than 100 other releases. He runs workshops around the world and is a teaching artist in the NYC public school system focusing on special needs children.

Swell has worked on music transcriptions of the Bosavi tribe of New Guinea for MacArthur fellow, Steve Feld in 2000. His CD, "Suite For Players, Listeners and Other Dreamers" (CIMP) ranked number 2 in the 2004 Cadence Readers Poll. He has also received grants from USArtists International in 2006, MCAF (LMCC) awards in 2008 and 2013 and has been commissioned twice on the Interpretations Series at Merkin Hall in 2006 and at Roulette in 2012.

Steve was nominated for Trombonist of the Year 2008 & 2011 by the Jazz Journalists Association, was selected Trombonist of the Year 2008-2010 , 2012 and 2014-2015 by the magazine El Intruso of Argentina and received the 2008 Jubilation Foundation Fellowship Award of the Tides Foundation. Steve has also been selected by the Downbeat Critics Poll in the Trombone category each year from 2010-2016.

Steve is presently a teaching artist through the American Composers Orchestra, Healing Arts Initiative , Mind-Builders Creative Arts Center (Bronx), the Jazz Foundation of America and Leman Manhattan Preparatory School.

Steve was also awarded the 2014 Creative Curricula grant (LMCC) for the project: "Metamorphoses: Modern Mythology in Sound and Words" which was taught in a month long residency at Baruch College Campus High School in Manhattan."

Jim Clouse is an audio engineer and musician, performing on drums and saxophone. His musical idioms are generally Jazz, Blues, Folk and World. He runs Park West Studios in Brooklyn, NY, the source of many well-recorded and well-known modern jazz records.

"William Parker is a bassist, improviser, composer, writer, and educator from New York City, heralded by The Village Voice as, "the most consistently brilliant free jazz bassist of all time."

In addition to recording over 150 albums, he has published six books and taught and mentored hundreds of young musicians and artists.

Parker's current bands include the Little Huey Creative Music Orchestra, In Order to Survive, Raining on the Moon, Stan's Hat Flapping in the Wind, and the Cosmic Mountain Quartet with Hamid Drake, Kidd Jordan, and Cooper-Moore. Throughout his career he has performed with Cecil Taylor, Don Cherry, Milford Graves, and David S. Ware, among others."