I recently moved back to the Twin Cities, and am interested in playing solo concerts of my songs for violin and voice. They sound a little like classical music filtered through Delta blues, with time changes. Better yet, take a listen:
Burst Into Song, And
Quito Chorale
Voltaic, the Albatross
Quito Chorale
Voltaic, the Albatross
These songs are rough mixes of a
new CD I've just recorded, with the help of Russel Munson. I
anticipate its release sometime
around July 2010.
IMy live setup is extremely simple, and consists of three channels: two microphones, one for my voice, one for my stomping feet; one DI for my violin's pickup. With this very scalable rig I can confortably play a loud bar, an attentive coffee house, a festival stage, or a bookstore. In a very intimate performance context, I use no sound reinforcement at all.
Here are two high-resolution 300dpi photos.
IMy live setup is extremely simple, and consists of three channels: two microphones, one for my voice, one for my stomping feet; one DI for my violin's pickup. With this very scalable rig I can confortably play a loud bar, an attentive coffee house, a festival stage, or a bookstore. In a very intimate performance context, I use no sound reinforcement at all.
Here are two high-resolution 300dpi photos.
Portrait Orientation
2000x3008
pixels
Landscape Orientation 3008x2000 pixels
Landscape Orientation 3008x2000 pixels
During the tracking of my most
recent record, my friend Joel Heaslip took these videos, which may be
viewed on YouTube.
Kip Jones describes his music as "traditional fiction" or "experimental folk"; that is, traditional music from regions or people that don't exist. Having dragged his violin across the Americas from Cape Breton to Tierra del Fuego, and across Asia from Kanyakumari to Jeollanamdo, years of travel have shaped his music into something both structurally foreign and profoundly American.
Listeners can expect a high-energy solo performance from Kip, who fiddles, stomps and sings, handing off the responsibility of melody from his voice to his violin. This innovative (but traditional!) style pervades nearly all of his original material, which comfortably fills a two-hour concert, to say nothing of reinterpretations of the Foo Fighters, Björk, or Mississippi John Hurt, among others.
A violinist's son, Kip grew up in Duluth, Minnesota, and received his degree in Violin Performance from Boston's Berklee College of Music, where he studied jazz with Matt Glaser. After a nine-month motorcycle trip that spanned the North American continent, he continued his study of improvisation with renowned Hindustani violinist Kala Ramnath, in Mumbai, India. He met his wife, Noelle, in Minnesota, and the two soon moved to rural South Korea, where Kip's songs began to take shape. Then, together, the pair embarked on a year-long odyssey through South America, where he captured the sound he had long been seeking.
He has performed at the Philadelphia Fringe Festival, Minneapolis' Orchestra Hall, Aerostitch's Very Boring Motorcycle Rally, Ecuador's Ministry of Employment, School Day in Gokseong, South Korea, and on subway platforms across the United States. He has also performed scores of house concerts, from a failed hamburger restaurant in Veracruz to the roof of Tirana's Jordan Nisja School of Music; from a veranda packed with Bangladeshi migrant laborers in Kolkata to a 4-a.m. impromptu between a late pub crawl and an early bus ride in Ushuaia, Argentina. He looks forward to embracing his future here, in Minnesota, where he is proud to have grown up, and happy to be back.
"Very interesting compositions and playing."
- Jean-Luc Ponty
"Columbus-minded music"
- Listener on CD Baby
"A humor genius"
- Matt Glaser
"...going to be very busy."
- Kala Ramnath
