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Aaron Diehl
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Network Node

  • Name: Aaron Diehl
  • City/Place: New York City
  • Country: United States
  • Hometown: Columbus, Ohio

Connections Out

  • from this node by: Matrix

Life & Work

  • Bio: Since his debut release on Mack Avenue Records in 2013, pianist-composer Aaron Diehl has mystified listeners with his layered artistry. He reaches into expansion. At once temporal and ethereal — deliberate in touch and texture — his expression transforms the piano into an orchestral vessel in the spirit of beloved predecessors Ahmad Jamal, Erroll Garner, Art Tatum and Jelly Roll Morton. Moment to moment, he considers what instrument he’s moved to evoke. “This is a singular voice here, but maybe this section is a saxophone soli, or this piece here are high winds or low brass in the bass,” says the Steinway artist, describing his concept on the bandstand.

    Following three critically-acclaimed leader albums, the American Pianist Association’s 2011 Cole Porter fellow now focuses his attention on what it means to be authentic, to be present within himself. His most recent release on Mack Avenue, The Vagabond, reveals his breadth as who The New York Times calls “a composer worth watching.” Across nine original tracks and works by Philip Glass and Sergei Prokofiev, Aaron leans into imagination and exploration. His forthcoming solo record, poised for release in spring 2021, promises an expansion of that search in a setting at once unbound and intimate.

    In his sound, Aaron finds evolving meaning in the briefest phrases. He conjures three-dimensional expansion of melody, counterpoint and movement through time. Rather than choose one sound or another, one genre or another — one identity or another — Aaron invites listeners into the chambered whole of his artistry. His approach reflects varied ancestral lineages and cultural expressions. And he remains committed to independence and self-discovery.

    Born in Columbus, Ohio, a young Aaron flourished among family members supportive of his artistic inclinations. His grandfather, piano and trombone player Arthur Baskerville, inspired him to pursue music and nurtured his talent. In 2003, Aaron traveled to New York; following his success as a finalist in Jazz at Lincoln Center’s 2002 Essentially Ellington competition and a subsequent European tour with Wynton Marsalis, he began studying under mentors Kenny Barron, Eric Reed and Oxana Yablonskaya, earning his Bachelor of Music in Jazz Studies at the Juilliard School. His love affair with rub and tension prompted a years-long immersion in seemingly disparate sound palettes he found to be similar in depth, resonance and impulse to explore, from Monk and Ravel to Gershwin and William Grant Still. Among other towering figures, Still in particular inspires Aaron’s ongoing curation of Black American composers in his own performance programming, unveiled this past fall at 92nd St. Y. This ongoing project, along with his recent and widely lauded trio interpretations of Glass’ iconic repertoire, has propelled Aaron into the next phase of self-actualizing. He embraces the challenge of drawing on other artists’ visions and expressions, then interpreting those within the framework of his own personal aesthetic.

    At age 17, Diehl was a finalist in Jazz at Lincoln Center’s Essentially Ellington competition, where he was noticed by Wynton Marsalis. Soon after, Diehl was invited to tour Europe with the Wynton Marsalis Septet (Marsalis has famously referred to him as “The Real Diehl.”) That Fall he would matriculate to the Juilliard School, studying with jazz pianists Kenny Barron and Eric Reed and classical pianist Oxana Yablonskaya. Diehl came to wider recognition in 2011 as winner of the American Pianists Association’s Cole Porter Fellowship, which included $50,000 in career development and a recording contract with the esteemed Mack Avenue Records.

    As thoroughly a collaborator as he is a leader, Aaron has appeared at such celebrated international venues as The Barbican, Ronnie Scott’s, Elbphilharmonie and Philharmonie de Paris, as well as domestic mainstays Jazz at Lincoln Center, The Kennedy Center, The Village Vanguard and Walt Disney Hall. Jazz Festival appearances comprise performances at Detroit, Newport, Atlanta and Monterey, for which he received the 2014 festival commission. Orchestral performances include hits at New York Philharmonic, Boston Symphony Orchestra, Los Angeles Philharmonic and the Philadelphia Orchestra.

    Aaron’s appetite for expansion has afforded him passing and extended associations with some of the music’s most fascinating and enduring figures including Wynton Marsalis, Benny Golson, Jimmy Heath, Buster Williams, Branford Marsalis, Wycliffe Gordon and Philip Glass. His formative association with multi-GRAMMY award-winning artist Cecile McLorin Salvant only enhanced his study and deeply personal delivery of the American Songbook. Recent highlights have included appearing at the New York premiere of Philip Glass’ complete Etudes at the Brooklyn Academy of Music, collaborating with flamenco guitarist Dani De Morón in Flamenco Meets Jazz (produced by Savannah Music Festival and Flamenco Festival) and performing with the New York Philharmonic and the Cleveland Orchestra as featured soloist on George Gershwin’s Piano Concerto in F. The New York Times lauded the “brilliance” of his performance: “The roomy freedom of [his] playing in bluesy episodes was especially affecting. He folded short improvised sections into the score, and it’s hard to imagine that Gershwin would not have been impressed.”

    When he’s not at the studio or on the road, he’s likely in the air. A licensed pilot, Aaron holds commercial single- and multi-engine certificates.

Contact Information

  • Contact by Webpage: http://www.aarondiehl.com/contact
  • Management/Booking: NORTH AND SOUTH AMERICA BOOKINGS
    Sarah Gordon
    Opus 3 Artists
    470 Park Avenue, 9th Floor
    New York, NY 10016
    212-584-7529
    [email protected]
    opus3artists.com
     
    INTERNATIONAL BOOKINGS
    Katherine McVicker
    Music Works International
    708 Pearl Street
    Reading, MA 01867
    781-300-7580
    [email protected]
    musicworksinternational.com
    ​
    PUBLICITY
    Maureen McFadden
    DL Media, Inc.
    1235 Hunt Club Lane
    Media, PA 19063
    610-667-0501 ext. 100
    [email protected]
    dlmediamusic.com
    ​
    RECORD LABEL
    Mack Avenue Records, Inc.
    4585 Sherman Oaks Avenue 
    Sherman Oaks, CA 91403
    mackavenue.com

Media | Markets

  • ▶ Twitter: aarondiehl
  • ▶ Instagram: aaronjdiehl
  • ▶ Website: http://www.aarondiehl.com
  • ▶ YouTube Channel: http://www.youtube.com/@ADSwing85
  • ▶ YouTube Music: http://music.youtube.com/channel/UC_R1P0JftSj9cgSYFYf_Rhg
  • ▶ Spotify: http://open.spotify.com/album/2yeXOGHdLYgyazlRHFzTTM
  • ▶ Spotify 2: http://open.spotify.com/album/2GvPNXBzfevF5tfuHj4tQl
  • ▶ Spotify 3: http://open.spotify.com/album/1odp4Qjm77tTezDLzfZZtZ
  • ▶ Spotify 4: http://open.spotify.com/album/0yXR8Iec97PZdYoBt0BIu4
  • ▶ Spotify 5: http://open.spotify.com/album/0QBabbhu5sjWi0ChUmwAgz

Clips (more may be added)

  • 1:22:28
    Aaron Diehl Trio - Jazz at the Lincoln
    By Aaron Diehl
    64 views
  • 0:48:48
    Cécile McLorin Salvant and the Aaron Diehl Trio Live at Dizzy's 2016
    By Aaron Diehl
    51 views
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Connect to Aaron Diehl to appear here:
  • 5 Composer
  • 5 Jazz
  • 5 New York City
  • 5 Piano

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  • Aaron Diehl
    Kenny Barron → Piano has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Kenny Barron → New York City has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Kenny Barron → Jazz has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Kenny Barron → Composer has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Philip Glass → Piano has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Philip Glass → New York City has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Philip Glass → Film Scores has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Philip Glass → Contemporary Classical Music has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Philip Glass → Composer has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → Theater Composer has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → Saxophone has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → New Orleans has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → Jazz has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → Film Scores has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → Composer has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    Branford Marsalis → Classical Music has been recommended via Aaron Diehl.
    • December 16, 2022
  • Aaron Diehl
    A category was added to Aaron Diehl:
    New York City
    • December 16, 2022
  • Aaron Diehl
    A category was added to Aaron Diehl:
    Jazz
    • December 16, 2022
  • Aaron Diehl
    A category was added to Aaron Diehl:
    Composer
    • December 16, 2022
  • Aaron Diehl
    A category was added to Aaron Diehl:
    Piano
    • December 16, 2022
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Aaron Diehl
Connections Out

 

 

 

Open pathways: Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps.

 

Raymundo Sodré
Raymundo Sodré Global

 

THE MATRIX IS THE MOTHERSHIP (it carries all the culture people everywhere wish to put aboard it)

 

THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)

 

 

THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)

SPARROW/PARDAL ROBERTS

 

Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix. — Susan Rogers (personal recording engineer for Prince; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)

SUSAN ROGERS

 

Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)

JULIAN LLOYD WEBBER

 

This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)

CLARICE ASSAD

 

Thanks, this is a brilliant idea!! — Alicia Svigals (world's premier klezmer violinist; founding member of The Klezmatics)

ALICIA SVIGALS

 

Thank you for your note below and we appreciate you including Kamasi in the matrix, Sparrow. — Banch Abegaze (manager, Kamasi Washington)

KAMASI WASHINGTON

 

This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.

 

 

(Clip by Jorge Pacoa)

  • Monk Boudreaux Funk

The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...

  • Hugo Viera Vargas Percussion

WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.

  • 小野リサ Lisa Ono Japan

Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.

  • Irmandade da Boa Morte Samba de Roda

But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.

  • Ron Blake New York City

Connect to anybody in here. You appear on their page. Anybody in here connects to you, they appear on your page...

  • Niwel Tsumbu Composer

...plugged into a superpower: the small world phenomenon.

  • Cristovão Bastos Piano

By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.

  • Elisa Goritzki Brazil

And by extension, to within discoverable reach of everybody everywhere on the planet.

  • McClenney Singer-Songwriter

A little bit about how the math works:

EM PORTUGUÊS / IN ENGLISH

 

BUT WHY BRAZIL???

  • Andrew Gilbert Writer

"The time has come for these bronzed people to show their worth..."

 

 

(Music by Assis Valente. Clip by Betão Aguiar. The Matrix was built in Salvador's Centro Histórico above, incorporating these marvelous people.)

  • Sting Singer-Songwriter

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

  • Hendrik Meurkens New York City

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

  • Marc Cary New York City

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

  • John Santos Afro-Latin Music

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

  • Conrad Herwig Composer

Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.

  • Chico César Poet

Nowhere else but here. Brazil itself is a matrix.

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