Daniel Bernard Roumain

Interview by Dina Di Maio

 

 

 

As the old joke goes, it does take practice to get to Carnegie Hall but it takes more than that to be remembered for it. To say you were the first artist to perform hip-hop at Carnegie Hall is true but what you really did was unique--blend classical with hip-hop. Where did your interest in being a musical performer arise? How did you come to study classical music and what made you incorporate hip-hop, jazz and rock into it?

I started playing violin when I was five years old and part of that education was performing monthly all around South Florida. So, performing was part of the regimen. South Florida is incredibly culturally diverse; with those different cultures comes different types of music. At an early age I was exposed to a myriad of different musical styles including Latin, Afro-Cuban, and Haitian music. All of which are part of my "new sonic vision".

From growing up in the U.S. myself, I can say that classical music was not very popular among my generation of teens. Do you think your style--incorporating hip-hop and rock--music of the young--will win more kids over to appreciating classical music? It seems that that's something you want to be doing being that you oversee the Second Helpings Series for the St. Lukes Chamber Ensemble which showcases young composers.

Definitely, and it already is. I'm still listening to the music of my generation and younger; everything that is on MTV, MTV2, and the radio. The fact is that classical music and pop music are both Western music, by that I mean they share the same musical culture, scales, and elements. A song by Eminem uses the same scale or notes that Bach used. In that, they're more related than not. There's a life lesson here: I teach my students that it's relatively simple to point out the differences between people, or music, but finding the similarities is the true art, and real life lesson.

According to the New York Resident, you do a lot to expose underprivileged kids to music. What has music been in your life and what are you trying to convey to kids about it?

Statistically speaking, I should be in prison. young, black, single; music is my "anti-drug". So, it's not an exaggeration to say that music both changed my life and saved my life. I hope music plays the same role for my students.

You also talk about working with dancers and how that has helped you as a musician. I guess there is something to be said for learning from and appreciating all forms of creative expression but in what way have dancers helped you with yours?

Rhythm. For musicians, rhythm is something that's fairly strict and rigid--literally, we use a metronome. A dancer's rhythm is much more fluid and changes over time. There's nothing rigid about it; it's much more human. In that notion, musicians become much more sophisticated in their approach to rhythm by working with dancers. As a great dance teacher once told me, "if you want to understand rhythm, watch a dancer's feet as they dance."

In 2003, you performed with Grammy Award winning vocalist Cassandra Wilson for the Lower Manhattan Cultural Council, premiered Human Songs and Stories as part of the San Antonio Symphony season and performed The Breathing Show and MERCY: Artificial Nigger with Bill T. Jones and (re)Birth of a Nation with DJ Spooky. What can we expect from you in 2005?

New work and national touring. DBR & THE MISSION will be performing at Joe's Pub in New York City (January 15th), Miami Dade College in Miami (February 5th), 651 Arts in Brooklyn (March 16th), with Philip Glass at Gammage Auditorium in Tempe, Arizona in April 2005, and at Montclair State University's Kasser Theater (April 17th). Throughout the year, we perform monthly at the Bowery Poetry Club in the East Village. In addition, I've just finished String Quartet No. 4 Angelou for Maya Angelou to be performed at the Other Minds Festival. As Assistant Composer in Residence at the Orchestra of St. Lukes, I've been commissioned to write a third work for them in the Spring 2005. I'm also working on a multi-length work for Bill T. Jones/Arnie Zane Dance Company. In February 2005, I'll release my next record Pulsing. Of course, I'll continue teaching students through the Young Composers Development Program. For everything else, there's www.dbrmusic.com.

 
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