A jazz pianist and composer with three albums to her credit, Helen Sung synthesizes facets of her experience into her music. Raised in the South, trained in classical piano and violin, and later drawn to jazz, she creates music that defies easy categorization. Her compositions embrace unusual structures, experimental song forms, various grooves and rhythms, and unconventional sources of inspiration. She has worked with such jazz masters as Clark Terry, Slide Hampton, Ron Carter, Jon Faddis, Wayne Shorter, T.S. Monk, and MacArthur Fellow Regina Carter. As one of the winners of the Con Edison Musician’s Residency: Composers Program, she’s currently in residence at Flushing Town Hall in Queens, New York.

We’re proud to say that Helen has been a member of Fractured Atlas since 2004! She recently took time out from her hectic schedule to tell us about her experiences performing and her current work.

Helen, in your composer’s statement, you say that your work is the expression of your “ongoing effort to increasingly synthesize the diverse facets of [your] experience.” What are some of these facets of your life and could you describe how they have influenced you?

A major facet is my classical background: besides studying the classical piano repertoire, I also played violin in school orchestras, youth symphony, and all kinds of chamber groups up through high school. The myriad colors, textures, different musical forms and instrumentations, are deep in my ears!

Since then, jazz and popular music have taken up the main part of my musical life. It was a huge opportunity to study at the Thelonious Monk Institute of Jazz Performance (at New England Conservatory). The program is designed to put students and the masters of jazz music together — folks I’d been listening to on my CDs were now standing in front of me and giving me lessons! I think I’d be a very different player today if I hadn’t had that experience.

After moving to New York, I was very fortunate to meet so many great musicians. Bassist Lonnie Plaxico, whose band I’ve played in, showed me a whole new world of music. Trained as a “proper” classical pianist by a strict Russian teacher, I didn’t hear much popular music (although I secretly listened to stuff my school mates were into, i.e. Madonna, Michael Jackson, etc). The musical horizon blew up when I started working with Lonnie — Stevie Wonder, Sly & the Family Stone, Parliament, Tower of Power, Marvin Gaye, Aretha Franklin, Donny Hathaway, Earth Wind & Fire, Weather Report, Return to Forever, Tribe Called Quest, Meshell Ndegeocello, to name a few…I soaked it in as fast as I could!

As I’ve grown and become more confident in playing jazz (something I’ve worked hard at since I want to do the music justice), I’m starting to increasingly weave in my classical sensibilities as well as elements of fusion, pop, R&B, etc. that I dig. My goal is to do this in an organic and personal way — this is the “synthesis” that I wrote about.

You’ve studied and performed with many of the greatest masters of jazz. Can you tell us about one or two really unforgettable moments with one or more of them?

Getting to play with Wayne Shorter, one of my favorite musicians and composers of all time, was an incredible thrill. Being around him is a rare experience — listening to him play, and talk (he has such a way with words…and notes!). We also toured India & Thailand with Wayne and Herbie Hancock. I still remember the first time I saw Herbie — we were at the departure airport – initially it was surreal to see him in three-dimensional space! Having Ron Carter as our artistic director month after month was an unforgettable two years. Working with trumpet great Clark Terry has been a great honor — what a wonderful legacy he has as a performer and educator. I’ll always remember when another trumpet great, Dizzy-protégé Jon Faddis, told me I needed to learn about the blues. Piano master Barry Harris, who carries the bebop torch so brilliantly…to tell you the truth, every single jazz master was unforgettable.

What kind of work have you been able to accomplish during your residency at Flushing Town Hall thus far? What are your goals for the remainder of your time in residence?

I’ve been able to finish a song project called Sung With Words — it’s a collection of mostly original music where I’ve taken poems and set them to music. Writing for and working with vocalists has been a great learning experience. I hope to record the project before the end of the year. Dana Gioia, poet and former Chairman for the National Endowment for the Arts, was the original inspiration for this project (the first poem I set was one of his), and we plan to collaborate on a new song cycle together, co-creating the music and words.

Fortunately, I’ve been in a heavy writing phase, so I’ve also completed quite a few new instrumental compositions that will be on the next couple of recording projects.

Finally, because of a recent gig that had a focus on young people, I discovered pianist Chick Corea’s Children’s Songs (20 short pieces for solo piano) and have been arranging them for jazz piano trio as well as solo piano — that’s been a lot of fun.

You toured parts of Africa last year with your group, NuGenerations… What were some of the highlights? Any big surprises?

One highlight was the Harare International Festival for the Arts (HIFA) in Harare, Zimbabwe. Everyone was saying how dangerous things were in Zimbabwe, how economically unstable it was, along with widespread poverty, suffering, and scarce resources; thus, it was especially inspiring to see a country (and continent) gather peacefully to celebrate arts and music for a week. Artists and ensembles from all over the world performed all types of music — it was truly a global event, and a testament to the power of the arts as a force for good. May HIFA live long and prosper!

Meeting and interacting with young musicians in every country we visited were also a highlight: from Harare’s Book Cafe where musicians, artists, poets, and actors meet to share ideas and engage in art; to the universities in Johannesburg and Windhoek (Namibia); to the dynamic young talent that is being encouraged and nurtured in the townships…all great stuff.

On one of our few off-days, we went on a mini-safari in Swaziland. Wow! Seeing a rhinoceros and giraffe up-close-and-personal is something else!

Your continuing involvement with music education is so impressive, especially considering what must be a very hectic recording and performing schedule. What keeps you coming back to music education?

This past summer I taught at the annual Litchfield Jazz Camp in Connecticut for the first time, and my respect for master teachers has grown a hundred-fold. A fellow teacher at the camp, drummer Alvin Atkinson, has a great quote — “when one teaches, one learns twice.” Definitely true! Music education also helps keep appreciation for music (of any genre or style) and its practice/performance alive, and it’s great to be a part of that.

You’ve been a member of Fractured Atlas since 2004. In what ways has your membership been valuable to you over the years?

Fractured Atlas has been an invaluable resource for professional opportunities: FA’s information sessions are great forums to share ideas and get to know what other artists are up to. I’ve applied for grants and am a fiscally-sponsored artist through FA. Finally, I have a health insurance plan that I got through FA. Many thanks to Fractured Atlas for doing the legwork so freelancers have access to affordable health care options!

What has been your proudest accomplishment as a composer and/or as a musician?

I don’t know that I have a “proudest” accomplishment — and hope there are still greater things to come(!) — but the fact that I actually write music, and music that has touched and moved listeners, is pretty cool.

What’s next on your professional horizon?

I have two new albums coming out — one called Going Express (recorded live at the Jazz Standard) in mid-September on Sunnyside Records, and then (Re)Conception on Steeplechase Records, due in January 2011. Lots of details involved with wrapping up each project!

Also, I’m finally getting a chance to play in Japan — hurray! I’m excited to be a part of drummer Terri Lyne Carrington’s Mosaic project. We recorded the album earlier this summer and will play Japan in support of its release there at the beginning of September.

Finally, my band will be doing a short CD Release tour for Going Express on the West Coast at the end of September. Besides this, I also have ongoing composition projects and preparations for future recording projects.

Is there any advice that you would give to a musician and/or composer at the start of their career?

I’d say a career in music is something for the long haul, and to be motivated by love for the music is the best way to go at it. These two concepts help me when the going gets tough, and it will. Also, there are no shortcuts — one has to put in the hard work and practice. Finally, try to play with the best musicians you can, and remember to have fun: we play music!

Learn more about Helen Sung on her website, which has her upcoming performance itinerary, contact information, her CDs for sale, and an e-mail sign-up.

Photos:
Top: Ben Johnson
Middle & bottom: Jason A. Cina