inkBoat: Bio: Shahzad Ismaily

			Biography Shahzad Ismaily



		Biography My name is Shahzad Ali Ismaily. I was born in June 1972, to Pakistani parents who immigrated to the United States during the late 1960's. I grew up fully bicultural, learning the languages and traditions of Pakistan and the US simultaneously. I loved music from a very early age, however there was a sustained familial argument as to whether I should 'follow my heart' or follow more normalized socio-economic choices such as medicine or engineering, hence the bifurcation that (becomes apparent)appears next. While at University (1988-1992, Simon's Rock of Bard College), getting a combined Bachelor's Degree in Political Science (emphasis on International Relations) and pre-Medicine (emphasis on Biology), I taught myself how to play a variety of musical instruments, beginning with the electric bass at age 19. Music consumed my life. After graduating with said degree, I moved west to Tempe, Arizona. While continuing my post-graduate studies, with an emphasis in Biochemistry, at Arizona State University (1994-1997, the only school I could afford at the time), I began to consider music as a profession. I taught myself piano and electric guitar as well as music theory and composition, through the use of texts on the subjects as well as comprehensive analysis of recordings in a wide range of genres. I played in numerous unknown rock bands at the time. It was great fun, and I was alarmed at how clear I felt on the matter. In 1999, my primary band, my relationship and my postgraduate work at ASU all ended at the same time, and I made the romantic decision to move to New York City as any driven, self-respecting artist might be inclined to do. I was fortunate. In the seven-plus years that I have lived in New York (Feb. 2000 to the present), I have had the pleasure of collaborating with artistic individuals and ensembles too numerous to mention in full here. Instead I have attached an additional sheet that lists most of the musicians I have performed and recorded with, dance and theatre companies I have worked with, teaching experiences I have had, and a few of my musical studies and research that have taken me abroad. Since moving to New York, I taught myself to play guitar (electric and acoustic), banjo, double bass, accordion, flute, drumset, various percussion instruments and all manner of analog synthesizers/drum machines. I find myself regularly performing, recording and composing with most of these instruments. I have also learned to use recording technology inclusive of both software (Protools, Logic, Ableton Live, Native Instruments, Reason, LiSa) and hardware (mic placement, microphone pre-amps, compressors as well as other outboard gear, mixing consoles and mastering machinery). At the present time, I continue to live in New York City, and I'm looking forward to entering the newest phase of my career as a musician, working in cinema. Ever since I was a younger person interested in music, scoring for film has always been my ultimate goal and I hope that working in the lab at Sundance this summer will be way I take my strongest step forward. I think ending my biography with a snapshot of my life from now, April 6th, until the beginning of the lab, July 24, is the right way to bring things to a close. Starting on April 10th, I will be in pre-production, recording new tracks for Jolie Holland's upcoming record with producer Booker T. (of Booker T. and the MG's fame, as well as most early Stax/Volt recordings, e.g. Bill Withers) until April 17th. On April 19th, I'll perform an improvised score for the authors John Haskell and Pamela Ryder at the Issue Project Room, a theatre space known for its highly experimental programming. From April 22nd though the 29th, I'll perform in Europe (including the prestigious music festival, All Tomorrow's Parties in England) with Faun Fables and Bonnie Prince Billy, two excellent bands on the Drag City label, the latter group features Will Oldham (whom I saw act in the film "Old Joy" at last year's Sundance Festival, and where I performed at with my group, Two Foot Yard). On May 1st, I'll perform at a benefit for PS29, an elementary school in Brooklyn in need of arts funding with guitarist Marc Ribot. On May 2nd and 3rd, I'll record with Laurie Anderson and Lou Reed for their upcoming album on Nonesuch records. From May 6th through June 4th, I'll be touring with the group Secret Chiefs 3 in Australia, Canada and the US (West Coast only). The Secret Chiefs 3 is a loud hybridization of Persian classical music and death metal. From June 5th until July 3rd, I will undergo a self-structured composing residency to prepare for the possible acceptance into the Sundance Film Composer's Lab. Each day, I intend to select a scene from a film that has already been scored (and released), eliminate the sound and score it myself. In addition I will read the following texts in full further deepen my daily work accordingly. From July 4th until July 16th, I will be recording new works co-composed by John Zorn and Secret Chiefs 3. On July 17th, I'll be performing with Marc Ribot in New York City at the River to River Festival. From July 18th through July 22nd, I will be in pre-production for the new record by Ceramic Dog (a trio that includes Marc Ribot, Ches Smith and myself) to be produced by T. Bone Burnett. Also during the month of July, I will be composing the score for a new work of theatre by the East River Commedia Ensemble. In all of the above mentioned concerts/recordings, I will be working with music that I have either composed in full or in collaboration with the artists noted. Collaborations, Performances & Discograpy Musicians With Whom I Have Collaborated: In Concert & Touring: John Zorn April 2003, June 2005 Graham Haynes June 2003, June 2004 Laurie Anderson April 2007 Tom Waits August 2006 David Krakauer April through September 2002 Jojo Mayer August 2001 through June 2002 Ted Reichman April through October 2002 Skerik April 2005, August 2006 Calvin Weston Junior April 2005, August 2006, January 2007 Billy Martin (of Medeski Martin and Wood) April 2003, Min Xiao Fen June 2005 Susie Ibarra April 2003 Elysian Fields Amir Ziv Marc Ribot's Ceramic Dog Doveman Carla Bozulich's Evangelista Indigo Street/Partyface White Magic Faun Fables Raz Mesinai Eyvind Kang Secret Chiefs 3 Zeena Parkins Pure Horsehair Carla Kihlstedt's Two Foot Yard Tin Hat Trio Nels Cline (of Wilco) Sam Amidon Mike Doughty (of Soul Coughing) Shelley Hirsch Barbez Pamelia Kurstin Guillermo Brown Morgan Michael Craft DJ Mutamassik Burnt Sugar Maya Dunietz Sean Hayes Lumatic 101 Crustaceans Jon Brion Vienna Teng David Berkeley Laura Veirs, european tour Feb 2006 Skuli Sverrson Kira Kira Hillmar Jennson Jim Black Cyro Baptista Kato Hideki Mark Growden Joel Ryan Myles Boisen Book of Knots Charming Hostess TheNightPorter On Recordings (include compositions by Shahzad Ismaily): Jojo Mayer -Nerve (2001) Asaf Roth -One Whole Half Step (2001) Raz Mesinai -Soldier of Midian (2001) -Clones and False Prophets (2003) -Safe (2006) Shahzad Ismaily and Carla Kihlstedt -Flying Low (2002) Eyvind Kang -Petrified Wood (with Kato Hideki) (2002) -Live Low to the Earth in the Iron Age (2004) David Krakauer -Klezmer Madness (2003) Matt Chamberlin -Sinister Kitchen (2003) Carla Kihlstedt's Two Foot Yard -Two Foot Yard (2003) on Tzadik Records -upcoming 2008 release Burnt Sugar -The Rites (2003) -If You Can't Dazzle Them With Your Brilliance (2005) Amir Ziv -Droid (2004) Guillermo Brown -Soul in the Hands of the Machine (2004) Secret Chiefs 3 -Book of Horizons (2004) -Path of Most Resistance (2007) -Ur (2007) -Electromagnetic Azoth (2008 release) -Ishraqqiyun (2008 release) Pure Horsehair -Canico C (2004) -Lost Songs 2005 -Aubade (2006) Fay Ray (a Japanese pop star) -Covers (2005) -Hikari to Kage (2006) Skerik, Calvin Weston Jr. -Inner Mounting Flame Orchestra (2005) Barbez -Insignificance (2005) Sean Lennon -Covers (Fay Ray) (2005) Mike Doughty (of Soul Coughing) -Haughty Melodic (2005) Transdub Massiv featuring Michelle N'Degeocello -Negril to Kingston City (2006) Billy Martin (of MMW), Calvin Weston Jr. -Socket (2006) Cyro Baptista, Shelley Hirsch, Min Xiao Fen -Socket II (2006) Carla Bozulich -Evangelista (2006) White Magic -Dat Rosa Mel Apibus (2006) Sam Amidon -That This Chicken Proved Falsehearted (2006) Elysian Fields -Bum Raps and Love Taps (2006) Lumatic -Swimming to the Hook (2007) Haale -Morning (2007) -Paratrooper (2007) Wendy Blackstone -Soundtracks (2007) Sean Hayes (composed, recorded and performed with) -Flowering Spade (2007) Marc Ribot's Ceramic Dog -Live at Tourcoing EP (2007) Graham Haynes, Leon Gruenbaum -Full Circle upcoming release summer 2007 Doveman -upcoming 2007 release Peter Scherer, Corin Curschellas -upcoming 2008 release Niobe -upcoming 2008 release Ceramic Dog -upcoming 2008 release Will Oldham -upcoming 2008 release Two Foot Yard -upcoming 2008 release Love is Laughter -upcoming 2008 release Lumatic -upcoming 2008 release Dave Deporis -upcoming 2008 release Jolie Holland -upcoming 2008 release on Anti records John Zorn -upcoming 2008 release with Secret Chiefs 3 Laurie Anderson, Lou Reed, Mark Degli Antoni -upcoming 2008 release for Nonesuch records Dancers/Dance Companies with whom I have collaborated (composition by Shahzad Ismaily unless otherwise noted): Jo Kreiter at Yerba Buena Center in San Francisco, November 2001 -a modern dance company focusing on aerial choreography -co-scored with Carla Kihlstedt Vetes at DTW in New York City January, February 2002 -i was a founder and the composer for all work by this Butoh dance troupe Min Tanaka/Tokason at PLAN B in Tokyo, Japan, August 2002 -extremely famous and well developed Butoh company led by Min San Frankfurt Ballet at Muziektheater in Amsterdam, Holland, June 2003 -co-scored with Joel Ryan Nathan Fuhr at Bimhuis in Amsterdam, Holland, April 2004 -conceptual movement art Resonant Wave at the Spannwerk in East Berlin, Germany, June and July 2004 -choreography inspired by indigenous Zulu traditions -involved a month of development in residence at Schloss Broellin, a castle in East Germany Ximena Garnica at The Cave in Brooklyn, NY, May 2005 -a venue known for its experimental dance programming -I am regularly asked to collaborate with dancers in residence Yael Karavan at Sapporo Art Park in Hokkaido, Japan, June 2005 -an ensemble collaboration for a site specific modern dance piece -involved a one month writing residency in Sapporo, Japan -was performed live in response to an installed sculpture by Israeli artist, Dani Karavan Shinichi Momo Koga at The Cave in Brooklyn, NYC, February and July 2006 -improvised Butoh duos Tadashi Endo at Gottingen City Hall in Gottingen, Germany, March 2007 -impovised Butoh duos Theatre Companies/Text Artists (compositions by Shahzad Ismaily unless otherwise noted): Rafael Oses at The Stone in New York City, May 2005 -was a member of the ensemble performance of his radio dramas Shelley Hirsch at The Eldridge Street Project in New York City, October 2006 -performed an improvised score to her 'History of a Jewish Wine Cellar' Dr. Jenni Quilter in Polizzi Generosa, Sicily, January 2007 -an hour long score to be listened to while reading her novella 'Carol' Borges' Imaginary Beings at The Alverno Arts Center in Milwaukee, Wisconsin, March 2007 -composed and performed this piece in collaboration with six other musicians in residence East River Commedia in New York City, Summer 2007 -I am an acting composer in residence with this theatre company - currently working on a score for a piece in development for their summer program Teaching Experience: Mill's College (Oakland, California, artist in residence) September 2003 -I was asked to give a workshop in experimental percussion techniques -the class size was 35 students, all at the university age level Steim Institute (Amsterdam, Holland, artist in residence) June 2003 -I was asked to teach a two week seminar on the use of electronic textures in composition -the class size was 30 students, ranging in age from 18-35 Clarice Smith Center for the Performing Arts (Baltimore, Maryland, artist in residence) September 2005 -I was asked to give a two day laboratory on modern composition -the class size was 8, the students were all university age Kohler Arts Center (Kohler, Wisconsin, artist in residence) March 2006 -I was asked to give a three day workshop on aesthetics and the writing process -the class size was 90 students, all at the high school level SUNY Oswego (Oswego, New York, artist in residence) March 2006 -I was asked to teach several classes on the techniques of orchestration over a 2 week period -the class sizes ranged from 15 to 35, all the university students were music majors Walker Center for the Performing Arts (Minneapolis, Minnesota Artist in Residence) March 2006 -I was asked to teach a three day workshop on collaborative composition -the class size was 60 students, all university age and with a music focused degree Flynn Center (Burlington, Vermont, artist in residence) March 2006 -I was asked to give a one day intensive workshop on contrapuntal harmony -the class size was 3, all the students were university level musicians South Bank Centre (UK, artist in residence with the London Sinfonietta) November 2006 -I was asked to teach a week long workshop on improvisation techniques to members of the Sinfonietta -the class size was 8 students, all professional classical musicians Musical Studies, Research & Collaborations Abroad: Pakistan/India/Turkey December 2000, January and February 2001 -I spent a winter traveling through these three countries, mostly to learn more about my heritage, but I ended up staying in all three countries for over a month to study Mrdingam (a double headed south indian drum), Veena (the south indian sitar), and the theoretical basis of Arabic Maqams (scales) Guadalajara, Mexico, June through August 2001 -I studied Mexican marimba music for two weeks with a local ensemble Santiago, Chile, June and July 2002 -I composed the full score for a the primary choreography of the summer season for the dance company Honmura, Japan, August 2002 -I was invited to work on an improvised duet with the esteemed Butoh dancer Min Tanaka -during this one month summer period I lived with him and we did intense farm work during the day and collaborated in the evenings -this resulted in an eventual performance at Plan B in Tokyo Amsterdam, Holland, June 2003 -I was asked to teach a two week seminar on the use of electronics in composition -meanwhile I studied the same, primarily in the form of the software LiSa Ubud, Bali, July and August 2003 -I went for a summer to study Gamelan with Pa'k Subandi -in addition to studying traditional repertoire we collectively composed hybrid music that was performed at the Bali Arts Festival one of Bali's most esteemed and important cultural outlet Kser El Kebir, Morocco January 2004 -I performed with Bachir Attar and the Master Musicians of Jajouka -during this time I studied the sintir and the gimbri with the Gnawa master Abdelkebbir Cheb Hokkaido, Japan, June 2005 -collaborated on a site specific piece in Sapporo Japan -involved a one month writing residency -was performed live in response to an installed sculpture by Israeli artist, Dani Karavan Sigulsfjordur, Iceland, June 2006 -I was asked to perform in a folk festival in Iceland, where I then studied the langspil (the Icelandic version of the dulcimer) with Hans Johannson