What's Up?
I’ve been making music for as long as I can remember — it’s always been my primary mode of expression. I grew up studying classical piano and obsessively improvising jazz at home. For most of my creative life, I’ve navigated the divide between these two worlds, though at this point my deepest roots lie in jazz and improvisation. I’ve been lucky to get to make music with some of the very best musicians in the jazz community, from Lee Konitz to Pharoah Sanders via Mark Turner and Paul Motian.
The truth, however, is that style has never felt all that important to me. I grew up bilingual, raised in France by an American family, which may explain why I’ve always been much more attached to content than to form, more concerned with what’s being said than the language in which it’s being expressed. As a result, I’ve grown increasingly drawn to exploring different means of expression for my music in order to further isolate the message from the medium. A sports analogy: if you always play tennis against the same person, you only get better at playing against that person. If you always play with different people, you get better at tennis. What I’m trying to do is clarify my message, independently of style. To get right at the music itself.
Life & Work
Bio:
One of his generation’s extraordinary talents, Dan Tepfer has earned an international reputation as a pianist-composer of wide-ranging ambition, individuality and drive — one “who refuses to set himself limits” (France’s Télérama). The New York City-based Tepfer, born in 1982 in Paris to American parents, has performed around the world with some of the leading lights in jazz and classical music; he has also crafted a discography striking for its breadth and depth, encompassing probing solo improvisation and intimate duets, as well as trio albums rich in their rhythmic verve, melodic allure and the leader’s keen-eared taste in songs no matter the genre.
Tepfer earned global acclaim for his 2011 Sunnyside album Goldberg Variations / Variations, a disc that sees him performing J.S. Bach’s masterpiece as well as improvising upon it — to “elegant, thoughtful and thrilling” effect (New York magazine). Tepfer’s newest album, Natural Machines, stands as one of his most ingeniously forward-minded yet; available now as a video album on YouTube and as an audio-only CD/download/stream via Sunnyside, this solo project five years in the making finds him exploring in real time the intersection between science and art, between coding and improvisation, between digital algorithms and the rhythms of the heart.
Tepfer has also composed for various ensembles beyond jazz. His piano quintet Solar Spiral was premiered in 2016 at Chicago’s Ravinia Festival, with Tepfer performing alongside the Avalon String Quartet. Tepfer has received commissions from the Prague Castle Guard Orchestra for two works: the suite Algorithmic Transform (2015) and a concerto for symphonic wind band and improvising piano, The View from Orohena (2010). In summer 2019, Tepfer unveiled his jazz-trio arrangement of Stravinsky’s Baroque-channeling Pulcinella.
Tepfer’s honors have included the first prize and audience prize at the 2006 Montreux Jazz Festival Solo Piano Competition, first prize at the 2006 East Coast Jazz Festival Competition, and first prize at the 2007 competition of the American Pianists Association. He was voted a Best New Artist in JazzTimes (2010) and a Rising Star in DownBeat (2011). Tepfer garnered the Charles Ives Fellowship from the American Academy of Arts and Letters in 2014; a MacDowell Fellowship, with a residency at the MacDowell Colony in 2016; and a three-year creative grant from the French Foundation BNP-Paribas in 2018.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"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, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).