Matana Roberts is an internationally renowned composer, band leader, saxophonist, sound experimentalist and mixed-media practitioner. Roberts works in many contexts and mediums, including improvisation, dance, poetry, and theater. She made two records as a core member of the Sticks And Stones quartet in the early 2000s and has gone on to release a diverse body of solo and ensemble work under her own name on Constellation and Central Control over the past decade. She is perhaps best known for her acclaimed Coin Coin project, a multi-chapter work of “panoramic sound quilting” that aims to expose the mystical roots and channel the intuitive spirit-raising traditions of American creative expression while maintaining a deep and substantive engagement with narrativity, history, community and political expression within improvisatory musical structures. Constellation began documenting the Coin Coin project in 2011 and has released the first three of a projected twelve album-length chapters to date.
The third chapter of Coin Coin, entitled river run thee and released on Constellation on February 2014, finds Roberts constructing a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee could arguably be considered first and foremost a vocal work, and notwithstanding its experimental and esoteric structure, a deeply narrative work as well. Not unlike 2013’s Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an uninterrupted album-length flow, this time in what Roberts calls “a fever dream” of sonic material, woven in surrealist fashion.
A self-taught mixed media composer, the Chicago-raised and New York City-based Roberts earned two degrees in performance from a smattering of American institutions but received her main training from free arts programs in the American Public School System. She is a past member of the Black Rock Coalition (BRC) and the The Association for the Advancement of Creative Musicians (AACM). She has been a Van Lier Fellow, a Brecht Forum Fellow, a Copeland Fellow, a Jazz Makes Fellow, an ICASP fellow, a 2013 FCA fellow and a seven-time Alpert Award In The Arts nominee, receiving the award in 2014. She has been invited to teach, lecture, run workshops and/or take up artistic residencies in countless places under diverse conditions and with diverse communities over the past decade and is a past faculty member of the Banff Creative Music Workshop, School for Improvised Music, and Bard College MFA, where she was co-chair of the Music and Sound Department 2011-12. Roberts won the Doris Duke Impact Award in 2014.
Of her work, Matana says the following:
“At my artistic core, I am firmly dedicated to creating a unique and very personal experiential body of sound work that speaks to, and reminds people of all walks of life to reach, stand up, give voice, regardless of difference, created from mere labels of intellectual classification. In my ideal world the idea of ‘difference’, is an illusion designed only for the purpose of modern economic division and elitist intellectual hierarchy. Through my life’s work, I stand creatively in defiance.”
Roberts has played with and alongside Rob Mazurek, Myra Melford, Vijay Iyer, Roscoe Mitchell, Greg Tate, Nicole Mitchell, Henry Grimes, Kyp Malone, Meshell Ndegeocello, Jayne Cortez, Seb Rochford, Fred Anderson, Latasha Diggs, George Lewis, Tyshawn Sorey, David Berhman, Pauline Oliveros, Reg E. Gaines, Daniel Givens, Savion Glover, Anthony Braxton, Kid Lucky, Liberty Ellman, Amina Claudine Meyers, Jeff Parker, Handsome Furs, Robert Mitchell, Quest Love, Julius Hemphill Sextet, Merce Cunningham, Joe Maneri, Beans, Bill T Jones, Josh Abrams, Chad Taylor, Dave Douglas and John Herndon among many others. She has recorded as a guest musician with rock, pop and electronic groups as diverse as Godspeed You! Black Emperor, TV On The Radio, Savath & Savalas, Thee Silver Mt. Zion, and performance artists My Barbarian.
|09/11/17||Matana Roberts in Berlin, DE||Haus der Kulturen der Welt|
|12/11/17||Matana Roberts in Utrecht, NL||Le Guess Who|
“A major talent” – The Wire
“The spokeswoman for a new, politically conscious and refractory jazz scene” – Jazzthetik
“Memory is a powerful thing, but it’s so private, fluid, and unreliable that it can seem almost impossible to capture in a work of art—and history is often no more stable, once you look closely enough. Roberts has succeeded at evoking both, though, and gives her audience a long look at something ghostly, tragic, and beautiful. She is carving out her own aesthetic space, startling in its originality and gripping in its historic and social power.” – Peter Margasak