Spotlight: Mazz Swift
Mazz Swift is a composer, conductor, singer, bandleader, educator, and Juilliard-trained violinist who has performed on many of the world's greatest stages. In addition to their appointments as a Carnegie Hall Teaching artist and Jerome Hill Artist Fellow, Mazz was most recently named a United States Artist Fellow. Here, we interview Mazz about their current projects, inspiration, work with Silkroad, and more!
How did you decide to become a musician? What drew you to your instrument?
Since I was a little kid, the sound of the violin has always been attractive to me. I think something about the soaring melodies of the Romantic period was what first caught my attention. As soon as I found out what a violin was, and that a violinist played the violin, I went around telling everyone I met that I was a violinist — forcing my parents to eventually get me a violin and some lessons! It was meant to be for sure!
When did you first work with Silkroad? What did you work on?
My first project with Silkroad was in the fall of 2018. The group was in its last year of a residency at The College of the Holy Cross and the collaboration was really meaningful for me. The group welcomed me in so openly and asked me to bring my own music to the table — which felt remarkable because I was brand spanking new and they were interested in knowing where I was coming from. We had a great time speaking on our philosophies behind music and healing and what we feel important in our own lives. It was such a warm group of people that were really working towards seeing each other as we are. A particular moment stood out when we did some free improvisation during a performance, leading into my piece written for Aiyana Jones (the 7-year-old who was killed by Detroit Police during a no-knock warrant raid on a home that turned out to be the wrong address for the person they were looking for) and her parents, for whom justice never came but for 5 years later in the form of a check from the city of Detroit (a shameful situation that I didn't want to forget and needed to highlight for people who had no idea that this had happened and happens all the time). The group took that story in and then poured themselves into the music, making it all the more meaningful for me and, I think (hope) for the students at the College. I stand in gratitude for that experience and the opportunity to connect with those extraordinary people.
What is your favorite memory while with Silkroad?
The above, and also workshopping, recording, and performing Osvaldo Golijov's Falling Out of Time. Two things about that tour really stand out: the first is a talk Osvaldo did, explaining where the piece came from that ended with the Ensemble playing excerpts from the piece. After soaking in the weight and beauty of the composers intent, and the story of the same name, written by David Grossman — and inspiration for this work — we were all so moved and in tears by the end of it. I don't know that I've ever felt so connected with a group of musicians. I remember looking to my left and seeing my insides reflected back at me in the tears in cellist Karen Ouzounian's eyes, and then looking to my right and seeing the same in violinist Johnny Gandelsman's eyes and really feeling like something special had just transpired. My second other favorite memory from that tour was recording live performances of the piece on the stage at the Barns at Wolf Trap. More magic — with the musicians, with the audience, and on that very special stage. There's such a rich vibe in that venue and on those grounds. It really felt like l was living the dream, you know?
Here & Now co-host Robin Youn joined Osvaldo Golijov for an immersive conversation about Falling Out of Time with excerpts of the work performed by the Silkroad Ensemble.
What makes you excited or inspires you as an artist? What kind of projects do you love working on?
I'm a huge fan of and believer in free improvisation and have been — over the past 10 years or so — really delving into Conduction (a system of hand signals and gestures created by the great Butch Morris in order to facilitate improvisation by large groups of sound-makers) — applying it to my compositions and educational workshops. That's the stuff that makes me feel really alive and truly rooted in my own creativity. It's scary as hell to stand up in front of an orchestra, the audience to my back, with no game plan to lean on and create something out of the blue. But it is also really affirming to get to the other side of the in-the-moment creation. It serves as a rich wellspring for my written creations to come from.
What kind of projects have you been working on? What can we expect in the coming months/year?
I guess there are a few things brewing but I've got an ongoing project that I've been calling the "Sankofa Project". Sankofa is a Ghanaian word that literally translates to "go back and get it," and deals with the concept of looking backward to understand how to move forward. I am exploring that concept through re-imaginings of so-called "Slave Songs," as well as freedom songs and my own versions of what I'm calling "Modern-day Protest" Songs. I’ve also been really fascinated with the work of Butch Morris and was able to work with him on and off for about 10 years before he died. I’ve since adopted his system of Conduction (conducted improvisation) and work that into almost every project or composition of mine. I plan to do a large-scale Conduction project sometime in the near future — or as soon as the pandemic and/or vaccine availability will allow.
What are you listening to these days?
Well, to be honest, I've been listening to a LOT of podcasts lately, haha! The Daily (from the New York Times) is a staple for me, as is Pod Save America, and Preet Bharara's Cafe Insider. Analysis of the news from the perspective of good journalism, people who have worked in the White House, and from a legal standpoint has really kept me sane over the past four years. But over the holiday season, I finally sat down and watched Beyonce's gorgeous epic music film Black Is King and became obsessed with the soundtrack (The Gift) — all of it loosely based on the story of the The Lion King and so full of pride (no pun intended!) and celebration of the many popular musics of Africa and Black America. Plus, inspirational lyrics kept me dancing! I shared it with my niece and I have to say, there's nothing really much sweeter than hearing an 8-year-old girl sing "Brown Skin Girl, your skin just like pearls, the best thing in the world! I'll never trade you for anybody else..." 🥰 Other things that I've been digging lately (by no means a comprehensive list!): Planetary Candidate (Michi Wiancko), Parts (Ohmme), and also Truth and Soul (Fishbone) have also found their way back into my recent playlist. This is just a snapshot of what I'm into these days. Ask me tomorrow and it will almost certainly be a different list!
What advice would you give to a young musician reading this?
Do things you are scared to do. Also, put as much effort into other parts of your life as you do your music: it can only inform your art more. Put down your instrument/practice and pick up a physical activity that makes you feel like a superhero: martial arts, dancing, fencing, yoga, running...whatever makes you feel good! We spend so much time in our heads and hands — not much time in our whole bodies. Keep the energy flowing through your whole body and it'll refresh your mind, spirit, creativity, etc... Also, I think it is of utmost importance to practice mindful meditation (you can start small — set a timer for 30 seconds and sit quietly — listening to your body and thoughts, while practicing non-judgment, no matter what comes to mind) every day. Lastly, as a musician, no matter what style or genre of music you play, it is invaluable to explore free improvisation. You learn so much about your strengths and weaknesses, the things you like, the habits you tend toward. There's so much to learn and when you figure out what it is that you have to offer that is unique to you, you'll find your undeniable voice, and likely stand out in a sea of people who often are trying to sound like someone else. Being rooted in “self” is a powerful and indispensable tool!
Is there anything else you would like to share?
I'm super excited to announce that I'm part of the 2021 cohort of United States Artists along with a most amazing group of individuals, some of whom I've admired for years (Wadada Leo Smith! Kidd Jordan! My musical sister, the amazing Tomeka Reid!), and others I'm so excited to find out more about. After a truly soul-crushing year of unrelenting bad news, the loss of work (work that is so tied to my core Self, the lack of which left me feeling unmoored, like so many of my performing friends and family), so much death at the hands of an incompetent federal administration, and the continued murder of my Black brothers and sisters at the hands of those charged with protecting us — the demoralizing nature of it all highlighted by well-meaning folks coming forward to say how unaware they had been (though many of us have been screaming about it for decades)... the news came from United States Artists and made me feel like the work I've been doing to bring a little bit of light into the world is actually being felt. I can't express how grateful I am for that — I'm really looking forward to continuing to make music, for myself and with the amazing artists at Silkroad (with whom I've been cooking up some fun plans, virtual and in-person)! The future feels bright indeed. :)