Benjamin BarsonPittsburgh, PA
Benjamin Barson is a composer, educator, baritone saxophonist, historian, and political activist. He is the recipient of the ASCAP Foundation’s 2018 Johnny Mandel Prize, ASCAP’s highest honor for jazz composers under 30. Barson is a Teaching Fellow and Ph.D. candidate at the University of Pittsburgh, where he studied under Geri Allen and currently teaches the History of Jazz and Recording Technology classes. His research and compositional practice explore the jazz idiom’s dialogue between Afrodiapsoric, American Indigenous, and East Asian influences. Ben was also the recipient of ASCAP’s 2017 Fred Ho Award, multiple Tinker Fellowships for research and performance in Cuba (2017 & 2018), the 2018 UConn-Storrs Fred Ho Fellowship, and the Launch Culture Grant from New Sun Rising (2018).
Among other major festivals and venues, Barson has played at the Springfield Jazz Festival (2018), the Pittsburgh International Jazz Festival (2018), the Kennedy Center’s Millennium Stage (2018), Lincoln Center’s Boro-Tech Program (2017).
Before attending the University of Pittsburgh, Barson was closely mentored by the Guggenheim Fellow Fred Ho. Ho mentored Barson in baritone saxophone technique and composition from 2009 until the former’s passing in April of 2014. During this period, Barson and Ho partnered to produce several mixed media musical projects spanning the United States, from Hawaii to Vermont. In 2014, Barson and teamed up with the operatic soprano Gizelxanath Rodriguez, a Mexican activist of Yaqui descent, to form the Afro Yaqui Music Collective. This ensemble combines Ho’s Afro Asian inspirations and fuses it with the music of Northern Mexico’s Yaqui people. This fusion ultimately suggests an alternative mapping of the working people who constructed—and contested—the Americas. Alongside Rodriguez, Barson has done extensive research and political work alongside Mayan and Yaqui communities. The collective has performed through Lincoln Center’s Boro-Tech program, ASCAP’s songwriter showcase at the Kennedy Center, and conducted workshops at several universities around the United States, Cuba, and Mexico. The group’s performances have been featured on Democracy Now!
Nonantzin, with Gizelxanath Rodriguez
Composed by Salvador Moreno
This song is sung in the Indigenous language of Nahuatl. It is dedicated to the Yaqui tribe, of Sonora, Mexico, who are in a historic struggle for their water rights against the Mexican government and international corporations. Despite having resided in the Sonora desert for fifteen hundred years, the scarce water resources they have depended on are being taken for others’ profit. The Yaqui have stood up and protested and fought. This song is sung in their language and is for indigenous rights everywhere.
Black Red and Green Revolutionary EcoMusic Tour – Barnard Vermont, February, 2014
The Red, Black and Green Revolutionary Eco-Music Tour performed the music of two legendary and influential big band jazz composers: Cal Massey, a leading 1960s African American composer whose lonost magnum opus “The Black Liberation Movement Suite” is one of the 20th century’s great undiscovered lonform works; alongside famed composer, political activist, ecosocialist and baritone saxophonist Fred Ho.
Insurrealista (composed by Benjamin Barson)
The composition submitted for your consideration, “Insurrealista,” is a homage to the revolutionary surrealism of the father of Negritude, Aime Cesaire. In terms of influences, the piece employs a 20-string koto, within a jazz-hip hop rhythmic section. Such a connectivity is the first of its kind. The rhythm is a consistent 13/8 time signature, also a highly unconventional and unusual sequence. spiritchild joins in vocals. This piece will be part of Brooklyn Rezound.
There is a “call and response” that exists between revolutionary art and meaningful political outcomes.
How can art be a hammer, and not simply representational? One solution is to work in dialogue with actual social movements and create spaces where activists are at the center...
How we convert our environment, through the sensory mediums of our ears, tongues, fingers, eyes, and nostrils into reality is as political and contested as net neutrality versus corporate control...