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Colonna
Artist Goals
My
Goals
as
an
artist
are
to
combine
all
of
the
musical
genres
and
periods
of
music
that
have
influenced
me
into
a
tasty
souffl
that
sounds
new
and
old
at
the
same
time.
My
favorite
movie
is
Brazil,
which
is
an
adaptation
by
Terry
Gilliam
of
1984
by
George
Orwell.
The
movies
design
is
both
futuristic
and
retro,
with
the
costumes
evoking
the
film
noir
of
the
1940s
while
the
set
design
is
a
nightmarish
version
of
a
bureaucracy
gone
mad,
with
ducts
intersecting
every
construction
in
the
movie.
I
would
like
my
music
to
reflect
Romantic
classical
music,
1930s-1960s
jazz,
and
modern
musical
genres
like
funk,
punk,
and
hip-hop.
Hopefully
this
will
give
the
feeling
of
something
both
new
and
old.
I studied classical piano as a child and teenager and my favorite composer was
Chopin.
His
compositional
and
playing
style
was
a
big
influence
in
how
I
hear
harmony
and
melody.
The
first
jazz
that
caught
my
ear
was
the
playing
and
compositions
of
Django
Reinhardt.
His
playfulness
and
virtuosity
while
improvising
were
amazing.
Until
that
point,
I
thought
jazz
was
an
impenetrable
morass
of
complex
harmonies
and
angular
melodies
that
didnt
make
me
feel
anything.
With
Django,
though,
the
dissonance
of
a
#11
or
#9
are
placed
in
the
perfect
places
in
his
phrases.
From
Django,
I
moved
on
to
the
music
of
Duke
Ellington
and
especially
the
songs
of
Billy
Strayhorn.
Billy
Strayhorns
compositions
reminded
me
of
Chopin,
but
even
better.
His
chord
progressions
always
made
tonal
sense,
but
each
change
was
somehow
unpredictable.
UMMG,
Blood
Count,
and
Lotus
Blossom
are
my
favorites.
The next artist who influenced me was Bill Evans. In his playing, I could hear
Chopin
and
Django.
His
chord
voicings
use
dissonance
in
the
most
pleasing
way.
He
has
a
sense
of
how
tension
notes
want
to
resolve
that
comes
from
a
very
deep
understanding
of
classical
music
and
jazz.
Also,
he
will
create
chromatic
harmony
lines
moving
from
1
to
b9
to
9
to
#9
or
#11
to
5
to
b13
to
13
that
give
incredible
motion
to
his
playing.
During
my
time
at
NYU,
I
transcribed
two
Bill
Evans
performances
(Come
Rain
or
Come
Shine
and
Autumn
Leaves)
from
the
album
Portrait
in
Jazz.
I
am
using
the
example
of
these
recordings
as
models
for
how
I
arrange
my
own
tunes.
Bill
Evans
knows
how
to
build
a
great
narrative
arc
in
his
performances.
More
so
than
the
be-
boppers,
Bills
solos
start
with
an
idea
that
is
then
developed.
The
development
of
that
idea
gives
rise
to
a
new
idea,
which
can
then
be
developed.
Its
a
style
of
improvisation
that
requires
mastery
of
harmony
and
melody,
but
when
Bill
Evans
uses
it,
it
sounds
organic
and
unforced.
To
get
the
hang
of
this
style
of
improvisations,
I
have
been
writing
solos
for
my
tunes
that
start
as
a
motive
and
then
develop.
Ive
also
used
the
model
of
these
performances
to
arrange
the
heads
for
my
tunes.
Many
of
Bill
Evans
chord
voicings
use
major
7th
intervals
to
provide
spice.
He
has
introduced
me
to
a
lot
of
major
7th
intervals
that
I
had
not
considered
before,
like
between
the
5th
and
flat
13th
or
natural
9
and
sharp
9.
As
well
as
using
Bill
Evans
as
a
model
for
how
to
voice
chords
and
improvise,
I
want
to
make
jazz
appealing
to
a
younger
generation
whose
perception
of
jazz
is
the
same
as
mine
used
to
be.
This
was
tried
before,
when
L.
Ron
Hubbard
told
Chick
Corea
that
he
should
make
music
that
appealed
to
the
masses.
The
result
of
Return
to
Forever
is
similar
to
what
I
have
in
mind
but
not
completely.
Rhythmically,
Return
to
Forever
incorporated
rock
into
jazz.
I
want
to
do
the
same
thing,
except
I
want
to
incorporate
the
rhythmic
feel
of
punk
rock
and
funk
into
jazz.
However,
the
harmonic
and
melodic
content
of
Return
to
Forever
eschews
the
compositional
style
of
great
songwriters
like
Gershwin
or
Billy
Strayhorn
for
a
modern
jazz
approach
that
to
me
is
unappealing.
I
never
find
myself
humming
a
Return
to
Forever
tune
to
myself
in
the
shower.
In
my
compositions,
I
have
tried
to
take
the
Strayhorn
approach
of
adhering
to
tonality
but
finding
new
ways
to
change
chords
that
are
unexpected.
I
have
an
idea
that
I
have
used
to
compose
two
of
my
tunes.
I
am
using
the
idea
of
extreme
modal
interchange
to
borrow
chords
from
increasingly
distant
keys,
while
still
staying
in
one
key.
If
I
am
in
the
key
of
C
and
I
use
a
Db
chord,
it
can
be
analyzed
as
a
chord
from
C
Phrygian
mode.
If
I
use
Gb,
it
can
be
analyzed
as
coming
from
C
Locrian.
But
what
about
B?
Why
cant
I
use
that
chord
using
the
idea
of
modal
interchange?
Since
C
Phrygian
is
Ab
Ionian
and
C
Locrian
is
Db
Ionian,
if
I
wanted
to
use
B,
I
would
have
to
be
in
Gb
Ionian.
Using
this
idea,
I
created
synthetic
modes
that
have
8
notes.
These
notes
are
the
notes
of
an
Ionian
scale
with
the
note
of
C
added.
So,
for
the
chord
B
in
the
context
of
the
key
of
C,
the
mode
would
be
(C,
Db,
Eb,
F,
Gb,
Ab,
Bb,
B).
This
can
be
done
for
every
Ionian
scale
that
does
not
contain
C.
The
interesting
thing
about
it
is
that
generally
when
a
composer
uses
modal
interchange,
they
are
moving
to
a
darker
mode
by
adding
flats.
Normally,
Locrian
is
the
darkest
one
can
go.
By
creating
these
additional
modes,
I
am
able
to
be
darker
than
Locrian!
But,
as
one
keeps
flatting
notes
to
become
darker
than
Locrian,
the
notes
that
have
already
been
flatted
become
natural
as
they
are
flatted
again.
The
effect
is
a
feeling
of
the
inversion
of
emotions,
as
notes
that
are
normally
major
and
bright
feel
darker
than
minor.
My
concept
is
a
jazz
piano
trio
that
plays
punk
rock
and
funk.
In
order
to
do
that,
I
need
musicians
who
are
both
great
jazz
players
and
interested
in
other
genres.
I
have
been
rehearsing
with
Henry
Vaughn
on
drums
and
Jude
Kim
on
bass
and
they
have
taken
the
concept
and
ran
with
it
to
the
edge
of
the
space-time
continuum.
So,
luckily,
I
think
as
far
as
personnel
goes,
I
should
be
good.
I
hope
to
make
a
kind
of
music
that
is
both
traditional
and
forward
looking,
expressive,
exciting,
a
little
dangerous,
and
appealing
to
an
audience
that
is
not
just
the
traditional
jazz
audience.
I
have
played
in
a
number
of
metal/punk
bands
and
there
is
something
encouraging
as
a
performer
about
an
audience
whose
idea
of
a
good
time
is
to
smash
into
each
other
in
a
violent
manner.
I
also
hope
to
raise
the
bar
for
the
level
of
harmony
and
melody
in
those
genres,
because
the
level
at
which
most
popular
music
operates
is
so
much
lower
than
when
jazz
was
actually
a
popular
music.