George E. Lewis

Lewis was born July 14, 1952, in Chicago, Illinois.[6] Lewis's father, George Thomas Lewis, was a postal worker who studied electronics under the GI Bill and had a deep love of jazz music; his mother, Cornelia Griffith Lewis, liked blues, soul, and R&B singers.[6][4]^: 281

Lewis began his education at a public elementary school, but he was one of many Black students who could only attend half-days, allegedly to relieve "overcrowding"; this was widely understood to be an excuse to enforce de facto segregation under superintendent Benjamin Willis, whose policies led to the 1963 Chicago Public Schools boycott.[7][4]^: 281 An African American teacher convinced Lewis's parents to enroll him at the University of Chicago Laboratory School, where he started classes at age 9.[4]^: 281 Lewis attended the Lab School from 1961 until his graduation in 1969.[8]

His parents wanted him to learn an instrument as a way to make friends, and Lewis chose the trombone, which was paid for in monthly installments.[4]^: 281 He played in the school orchestra and concert band, took private lessons from University of Chicago graduate students, and as a teenager joined the school's new jazz band, run by jazz historian Frank Tirro (then working on his PhD) and Dean Hey.[4]^: 282 In the late 1960s, classmate Ray Anderson took Lewis to hear Fred Anderson at an AACM concert, and Lewis first heard the Art Ensemble of Chicago at another concert on his high school campus.[4]^: 282

Lewis was accepted to Yale University in 1969, and at age 17 began his studies in prelaw.[4]^: 282 He also took music theory classes and met a number of artists in the community, but began to lose interest in school after his sophomore year and decided to take a break.[4]^: 283

In 1971, during his time off in Chicago, Lewis heard some musicians practicing together near his parents' house; he introduced himself, and met Muhal Richard Abrams, John Shenoy Jackson, Steve Galloway, and Pete Cosey.[4]^: 283 Lewis was invited to check out a show at the Pumpkin Room, but misunderstood the invitation and brought his trombone; they let him play anyway, as part of a group that also included Joseph Jarman, Kalaparusha, and Steve McCall.[4]^: 284 Lewis worried about his performance, but McCall invited him to play another concert; at rehearsal, he was introduced to Roscoe Mitchell, Malachi Favors, Sabu Toyozumi, Aaron Dodd, and Douglas Ewart.[4]^: 285 Lewis became more involved with the AACM, and Jackson encouraged him to apply to join the group. After his acceptance, Lewis was voted reading secretary and began taking minutes at weekly meetings.[4]^: 285 Lewis regularly played late gigs with the Muhal Richard Abrams Big Band during his year off, and in the daytime held a United Steelworkers union job at Illinois Slag and Ballast Company.[4]^: 303

Lewis returned to Yale in 1972, just as the university began its Duke Ellington Fellowship Program; artists brought to campus during Lewis's remaining years included Duke Ellington, Charles Mingus, Max Roach, Dizzy Gillespie, William Warfield, Papa Jo Jones, Willie "The Lion" Smith, Marion Williams, Tony Williams, and Slam Stewart.[4]^: 303 Lewis met many more musicians among Yale's students, faculty, and others living near New Haven such as Wadada Leo Smith, who began visiting Lewis early in the morning before his classes.[4]^: 304

Lewis graduated from Yale in 1974 with a degree in philosophy.[8]

George E. Lewis in 2006.

In 1976, Lewis released Solo Trombone Record to great acclaim.[9]

Lewis has long been active in creating and performing with interactive computer systems, most notably his software Voyager, which "listens" and reacts to live performers.[2]

Lewis has recorded or performed with Anthony Braxton, Anthony Davis, Bertram Turetzky, Conny Bauer, Count Basie, David Behrman, David Murray, Derek Bailey, Douglas Ewart, Alfred Harth, Evan Parker, Fred Anderson, Frederic Rzewski, Gil Evans, Han Bennink, Irène Schweizer, J. D. Parran, James Newton, Joel Ryan, Joëlle Léandre, John Zorn, Karl E. H. Seigfried, Laurie Anderson, Leroy Jenkins, Marina Rosenfeld, Michel Portal, Misha Mengelberg, Miya Masaoka, Muhal Richard Abrams, Nicole Mitchell, Richard Teitelbaum, Roscoe Mitchell, Sam Rivers, Steve Lacy, and Wadada Leo Smith, as well as Frederic Rzewski and Alvin Curran's Musica Elettronica Viva[10] and the Globe Unity Orchestra[5] and the ICP Orchestra (Instant Composer's Pool).[11]

In the 1980s, Lewis succeeded Rhys Chatham as the music director of The Kitchen.[12]

From 1988-1990, Lewis collaborated with video artist Don Ritter to create performances of interactive music and interactive video controlled by Lewis's improvised trombone.[13]

In 1992, Lewis collaborated with Canadian artist Stan Douglas on the video installation Hors-champs, featuring Lewis in an improvisation of Albert Ayler's "Spirits Rejoice" with musicians Douglas Ewart, Kent Carter and Oliver Johnson; the installation was featured at documenta 9 in Kassel, Germany.[14]

Since 2004, he has served as Edward H. Case Professor of American Music at Columbia University in New York City.[5] He previously taught at the University of California, San Diego.[15]

Lewis is featured extensively in Unyazi of the Bushveld (2005), directed by Aryan Kaganof,[16] a documentary about the first symposium of electronic music held in Africa.[17] Lewis gave an invited keynote lecture and performance at NIME-06, the sixth international conference on New Interfaces for Musical Expression, which was held at IRCAM, Paris, in June 2006.[18]

His work "Morning Blues for Yvan" was featured on the compilation album Crosstalk: American Speech Music (Bridge Records), produced by Mendi + Keith Obadike.

In 2008, Lewis published a book-length history of the AACM titled A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press).[19] Lewis later wrote an opera based on the book, titling it Afterword: The AACM (as) Opera; the work premiered at the Museum of Contemporary Art Chicago in 2015.[20]

In April 2022, the International Contemporary Ensemble announced the appointment of Lewis as its next artistic director, effective April 2022.[21]

In 2002, Lewis received a MacArthur Fellowship.[1] His many honors also include a Guggenheim Fellowship (2015),[3] a United States Artists Fellowship (2011), the Alpert Award in the Arts (1999), and the American Musicological Society's Music in American Culture Award in 2009.[5] He became a Fellow of the American Academy of Arts and Sciences in 2015, a Corresponding Fellow of the British Academy in 2016, and a member of the American Academy of Arts and Letters in 2018. Lewis has received four honorary degrees: Doctor of Music from the University of Edinburgh in 2015, Doctor of Humane Letters from New College of Florida in 2017, Doctor of Music from Harvard University in 2018, and Doctor of Music from the University of Pennsylvania in 2022.[22][23]

His monograph A Power Stronger Than Itself: The AACM and American Experimental Music received the 2009 American Book Award.[1]

Solo and chamber music

• "Toneburst" (1976) for three trombones
• "Endless Shout" (1994), for piano
• "Collage" (1995), for poet and chamber orchestra, with text by Quincy Troupe
• "Ring Shout Ramble" (1998), for saxophone quartet
• "Signifying Riffs" (1998), for string quartet and percussion
• "Dancing in the Palace" (2009), for tenor voice and viola, with text by Donald Hall
• "Ikons" (2010), for octet
• "The Will To Adorn" (2011), for large chamber ensemble
• "Thistledown" (2012), for quartet
• "Float, Sting" (2018), for sextet

Electronics

• "Atlantic" (1978), for amplified trombones with resonant filters
• "Nightmare At The Best Western" (1992), for baritone voice and six instruments
• "Virtual Discourse" (1993), composition for infrared-controlled "virtual percussion" and four percussionists
• "North Star Boogaloo" (1996), for percussionist and computer, with text by Quincy Troupe
• "Crazy Quilt" (2002), for infrared-controlled "virtual percussion" and four percussionists
• "Hello Mary Lou" (2007) for chamber ensemble and live electronics
• "Sour Mash" (2009), composition for vinyl turntablists, with Marina Rosenfeld
• "Les Exercices Spirituels" (2010) for eight instruments and computer sound spatialization
• "Anthem" (2011), for chamber ensemble with electronics

Installations

• "Mbirascope/Algorithme et kalimba" (1985), interactive mbira-driven audiovisual installation, with David Behrman
• "A Map of the Known World" (1987), interactive mbira-driven audiovisual installation, with David Behrman
• "Rio Negro" (1992), robotic-acoustic sound-sculpture installation, with Douglas Ewart
• "Information Station No. 1" (2000), multi-screen videosonic interactive installation for the Point Loma Wastewater Treatment Plant, San Diego, Calif.
• "Rio Negro II" (2007), robotic-acoustic sound installation, with Douglas Ewart and Douglas Irving Repetto.
• "Travelogue" (2009), sound installation
• "Ikons" (2010), interactive sound sculpture, with Eric Metcalfe

Interactive computer music

• "The KIM and I" (1979), for micro-computer and improvising musician
• "Chamber Music for Humans and Non-Humans" (1980), for micro-computer and improvising musician
• "Rainbow Family" (1984), for soloists with multiple interactive computer systems
• "Voyager" (1987), for improvising soloist and interactive “virtual orchestra"
• "Virtual Concerto" (2004), for improvising computer piano soloist and orchestra
• "Interactive Trio" (2007), for interactive computer-driven piano, human pianist, and additional instrumentalist
• "Interactive Duo" (2007), for interactive computer-driven piano and human instrumentalist

Music Theatre

• "The Empty Chair" (1986), computer-driven videosonic music theatre work
• "Changing With The Times" (1991), radiophonic/music theatre work

Creative orchestra

• "The Shadowgraph Series, 1-5" (1975–77)
• "Hello and Goodbye" (1976/2000)
• "Angry Bird" (2007)
• "Fractals" (2007)
• "Shuffle" (2007)
• "The Chicken Skin II" (2007)
• "Something Like Fred" (2009)
• "Triangle" (2009)
• Minds in Flux (2021)[41]

Graphic and instructional scores

• "Monads" (1977), graphic score for any instrumentation
• "The Imaginary Suite" (1977), two movements for tape, live electronics, and instruments
• "Chicago Slow Dance" (1977), for electro-acoustic ensemble
• "Blues" (1979), graphic score for four instruments
• "Homage to Charles Parker" (1979), for improvisors and electronics
• "Sequel" (2004), for eight electro-acoustic performers
• "Artificial Life 2007" (2007), composition for improvisors with open instrumentation

Wikimedia Commons has media related to George Lewis (trombonist).

• George Lewis faculty profile from Columbia University site
• Casserley, Lawrence. "Person to... person?" at the Wayback Machine (archived May 17, 2006) Interview with George Lewis, discussing computer music and other topics, including improvisation and Voyager
• Golden, Barbara. "Conversation with George Lewis." eContact! 12.2 — Interviews (2) (April 2010). Montréal: CEC.