Past Projects:
2025
It has been five years removed from the height of the COVID pandemic and this seemed like an opportunity for me to finally release the material that I created while under the Stay at Home Directive in 2020. I wrote the following statements after the compositions were completed and in reading them now five years later, it seems as though not much has changed.
When the COVID-19 pandemic was at its peak in March and April 2020 in New York City, I came across a series of writings that spoke to me within my own life experience at that time. I had been thinking about starting a daily journal to organize my thoughts and feelings as I saw New York change literally over night and there was no doubt that it would take a long time for the virus to be vanquished and to return to some form of normalcy. It was at that time that I formulated the idea of writing a suite that would bring these thoughts and feelings out through my music. I began again to re-examine the idea of interpretation; however not in terms of musical composition and arrangement, but by interpreting written text and placing it in my own voice, in my own words. If I was going to include a series of personal statements, I felt that it was important that I should recite the spoken word sections myself to create a more intimate and personal telling of my story.
If anything, the COVID-19 pandemic brought many issues to the surface that we need to address as a nation. In this work, I attempted to look at the history of New York City, what the pandemic has done to that history and what New York will look like post pandemic especially pertaining to the arts. It also identified those termed essential workers as primarily immigrants, people of color and poor. The exact population that the virus hit the hardest. It brought to the forefront issues of income inequality, a lack of healthcare and systemic racism especially as it pertains to the killing of African-Americans at the hands of the police. We are in a transformational moment as a country and history will look back and decide if we met the moment or let it slip away yet again.
This music was composed primarily using GarageBand, but also incorporates a series of field recordings, radio & podcast samples and de-contextualized sounds using Audacity. I also incorporated the use of my harmon muted trumpet in the Interludes. The act of sheltering in allowed me the opportunity to reach out to friends to be involved in doing some remote recordings and for the Echoes Suite I re-connected with some friends from my days in both Miami and Syracuse, NY. Peter Allen added an electric bass solo to the movement I Should Be Doing Something Else Right Now and in the selection Sensitive Chaos we feature Phil Owens on guitar and Bob Cesari on tenor sax.
To listen, click on the underlined titles below as they are released throughout 2025…
II. Echoes Suite - 1. Echoes (poem by Neil Morris), 2. Interlude #1 (Oscillations from Krzysztof Marciniak, part 1), 3. The Night of the Last Star, 4. Interlude #2 (Oscillations from Krzysztof Marciniak, part 2), 5. The Time Before Now, 6. Interlude #3 (excerpt from An Open Letter to NYC, the Beastie Boys; excerpt from Refugee Blues, W. H. Auden; The Dangers of Capitalism, unknown), 7. I Should Be Doing Something Else Right Now - guest artist - Peter Allen, 8. Interlude #4 (excerpt from I Thought It Was the End of the World, Steve Dalachinsky; The Missing Sounds of New York, Alan Licht; The End of White Supremacy, An American Romance, Saidiya Hartman; reference to The Comet by W.E.B. Du Bois and The Mysticism of Sound and Music, Inayat Khan), 9. Sensitive Chaos - guest artists - Phil Owens and Bob Cesari, 10. I know How it Was (Here is New York, E.B. White; Sound Art Revisited, Alan Licht)
As the COVID-19 pandemic moved from the winter through the spring, summer, fall and winter again it became clear that without a concerted, national response from our federal government, this virus was not going away anytime soon. A vaccine still seemed to be something that could be available in 2021, but most likely not and the Trump administration seemed to be adopting a herd immunity approach as we passed over 8 million people infected and over 225,000 deaths as I write this on November 4, 2020. On this, the day after the Presidential election, there was no declared winner as states began to tabulate absentee ballots with Donald Trump declaring himself the winner and suggesting that we stop the count and let the Supreme Court decide the election. It is a country unfamiliar to me, divided more than ever with a President actually being the one to sow those divisions.
I woke up this morning anxious and depressed at the state with which we find ourselves in this moment and yet, as the systems in place move forward, I see the possibilities of transformation. If there is one thing this past year has shown, it is that the inequalities of the planet - whether social, ecological or political - cannot be sustained. Can we seize this opportunity in order to make some necessary changes, or will we collectively continue to accelerate blindly towards the abysses already in sight?
Transformation is not necessarily a revolution. It is not a violent and total break with the present, but rather a process of change that reinforces, expands and unfolds approaches that already exist. Art and music can amplify a multitude of voices and provide a laboratory in which we can imagine alternative practices. How can we use our work to strengthen mutual concern and the common good? How can we recognize our differences and develop new ways of being together?
I am looking to enable a physical/sensual experience through my music and my music making process. I have no doubt that we will emerge from this experience transformed.
Transformation - 1. Mandatory Reality (written for Peter Allen, Lee Tiffault & Mark Tiffault of Bill & the Belltones - 1983 - 1985 - Syracuse, NY), 2. O, this editorial - an attempt (poetry by Autumn Royal), 3. Our Voices Are Mirrors, 4. Traveling Without Memory (a remix of my Suite for Jazz Quintet - 1986 - featuring Steve Yamasaki, Brad Shepik, Grady Swafford & Don Dietrich of Brief Encounter - 1985 - 1989 - Seattle, WA)
2024
Prior to the COVID-19 pandemic, I had begun an intensive study of modern, 20th Century composers specifically John Cage and the four minimalists - Steve Reich, Philip Glass, LaMonte Young and Terry Riley. Additionally, I read a series of books by David Toop, Mark Fell and Alan Licht, among others and began to look at the use of Field Recordings in my music.
I was interested in looking at ways to acquire more freedom in my compositional process, not moving from Jazz per se, but to incorporate new sounds, techniques, sources and colors into my writing and playing. This period of my music became highly experimental with plenty of risk-taking.
Click on the musical titles below to hear or see the examples presented…
Binary Systems is the first experimental work in this series. Binaries are social constructs composed of parts that are framed as absolute and unchanging opposites. Binary opposition is a key concept of structuralism. As the basis of this composition, I used the structural formulations of the artist Paul Klee from his Pedagogical Sketchbook written in 1923. The composition was assembled as a sound collage using material from my recorded collection spanning from 1983 through 2021 where players were recorded in an acapella setting as part of a specific original composition. This setting was then cut, pasted and paired with other recorded examples to create a series of solos, duets and trio settings that incorporated the musical equivalent of an active line, or an active line with fixed points all resulting in the union of two or more parts. The settings were created without regard to tempo, key, style or any fixed element of music. What was conceived as structuring binary opposites actually explored the gray area between the combinations of musicians and what can result from those perceived differences.
Binary Systems is one connected composition in seven movements as seen below…
I. Duet
Jay Bianchi, keyboard 2012
Peter Allen, electric bass 1983
II. An Active Line
Don Dietrich, drums 1988
Corey Larson, guitar 2019
Bob Cesari, tenor sax 2020
Charlie Gushee, tenor sax 2019
III. Trio
Jeff Carney, upright bass 2012
Daryl Pugh, upright bass 1983
Elliot Honig, piano 2019
IV. An Active Line with Fixed Points
Ben Gramm, drums 2012
Luca Rosenfeld, upright bass 2017
Gary Fogel, drums 2017
Richard Philbin, tenor sax 2017
Eric Peters, drums 2005
V. Three Conjugations
Paul Pricer, upright bass 2019
Jimmy Johns, drums 1983
Steve Yamasaki, soprano sax 1988
Rich Russo, upright bass 2019
VI. Trio 2
Sean Moran, guitar 2018
Rosdeli Marte, voice 2018
Phil Owens, guitar 2020
VII. Trio 3 - Structure
Luca Rosenfeld, upright bass 2017, 2018
Gary Fogel, drums 2013, 2017, 2019
Bill Stevens, trumpet with effects 2021
The Lecture on Nothing was written by Cage as a musical composition. In recitation with the cellist Francis Marie-Uitti, I had originally placed my solo trumpet into the piece to create areas of color and dynamic emotion as the lecture is recited; however in 2023 I did something that I rarely do, I revised the arrangement with a new group. I have always believed that each of my compositions acted as a place in time, a marker on my musical journey. This new chamber group was assembled in discussions between myself and Ken Lieberson, a composer and bassoonist and with the addition of Steve Wylie also a composer and cellist to perform new trio compositions. For me, it was an opportunity to work with the trio on developing guided improvisations.
During the Lecture you will hear the group in solo, duo and trio improvisational settings. Additionally, through the use of Logic Pro, I have resurrected two of my chamber compositions dating from my time in Seattle from 1987 - 88. The first, my String Quartet No. 1 followed by the Music for Brass Quintet in three movements. Ken Lieberson contributed his Trio in d minor (after Bach’s Second Suite) which segues into a trio improvisation that maintains the style of Ken’s work.
Continuing with this experimental period, I became fascinated once again with the Chris Marker film from 1962, La Jetee and I saw another opportunity to create a musical setting for the film; however for this project I wanted to create new music for the film itself and I wanted the music to be of a more electro-ambient nature incorporating a series of field recordings and extended techniques on my trumpet. I attached this to a narration that was recorded by Brainard Carey. The final element was working my horn into the mix to create another color to enhance the emotional content. Through the use of extended techniques on my trumpet played through both a delay and harmonizer pedals I was able to create a sense of tension that is finally released during the closing melodic loop for the movie.
The final experimental piece was written for an open call by CTM - Berlin for use at the ISIM Festival in January 2020 on a theme of Liminal Phenomena. The work I presented spoke to the state of American foreign relations with Europe under the Presidency of Donald Trump that I called It's Only Fiction Until it Happens.
I used a radio podcast from the BBC called “America’s Friends” and by distorting and manipulating much of the dialogue using Audacity that at times you hear the message clearly; however more often than not the message has difficulty coming through. We tend to ignore what we cannot make out no matter how much we try to make sense of what is being said and why.
I layered additional sounds upon this foundation through the use of GarageBand to create sections of heightened tension and release. I also added sections of improvisation using electronics on my trumpet to manipulate and layer sounds even further allowing for the original message to become more densely decontextualized. In live performance, the piece is played in total darkness except for a light directly above me while I add a second layer of electronic trumpet improvisation.
These four works are also some of my longest durational pieces. I am excited to share them with you at this time and hope that you will take the time to have a listen and as always, I look forward to hearing from you to get your thoughts and reactions to this new music.
2023
When New York City was issued the shelter in place directive in March 2020 you couldn’t help but feel that this was going to be with us for quite some time. Much of what I started to compose during this time was dark, emotionally stark and I felt that I really needed to come up with a project that lightened the mood to give us some hope. I had the idea of doing a series of interpretations on the music of Paul McCartney, John Lennon, George Harrison, Eric Clapton and Bjork.
Not being able to connect in person to play and record the music, I took the steps to do the project remotely and called upon another group of musicians to join me in this project. I looked to release this material in 2023 and the Events Series that would be released will be titled “A New Day, Yesterday”. It features a group of younger musicians I had been performing with, along with some long time friends dating back to my college days while at Fredonia.
I re-interpreted the songs Blackbird, Come Together and Tears in Heaven in a sort of unplugged manner featuring Richard Philbon (flute, bass clarinet & alto sax), Andy Berman (guitar), Luca Rosenfeld (acoustic & electric bass) and Gary Fogel (percussion). The remaining four songs were meant for a small group type fusion band - Beautiful Boy, All is Full of Love, Hunter and George Harrison’s Something. For these pieces I created settings on GarageBand while I brought in my long time friend Steve Anagnost to feature on guitar.
To learn more about my thoughts and inspiration concerning this project, you can read my program notes: A New Day, Yesterday. My plan in 2023 is to release one piece each month from March to September while the full album will be available to listen to as a playlist on Spotify here.
Listen on Soundcloud:
Blackbird, Paul McCartney, arr. by Bill Stevens, featuring Richard Philbon, flute; Andy Berman, guitar & Luca Rosenfeld, bass
Beautiful Boy, John Lennon, arr. by Bill Stevens, featuring Steve Anagnost, guitar
Come Together, The Beatles, arr. by Bill Stevens, featuring Bill Stevens, trumpet with effects; Richard Philbon, bass clarinet & Gary Fogel on percussion
All is Full of Love, Bjork, arr. by Bill Stevens, featuring Bill Stevens, trumpet with effects
Tears in Heaven, Eric Clapton, arr. by Bill Stevens, featuring Richard Philbon, alto sax; Andy Berman, guitar & Luca Rosenfeld, bass
Hunter, Bjork, arr. by Bill Stevens, featuring Bill Stevens, flugelhorn and Steve Anagnost, guitar
I hope that you will take the time to check out these new arrangements that I refer to as interpretations throughout 2023. I look forward to sharing them with you and as always, I look forward to hearing from you as well.
2022
I was excited to announce my Event Series planned for 2022 will be a series of duets written for some of my closest friends. Friends who have played together for over twenty years. In 2019 I wrote a series of compositions for some amazing musicians and we were fortunate to meet at Michiko Studios on 46th Street to video tape a performance of each prior to the pandemic. These duets featured the following...
Elliot Honig, piano - Where the Stars Dwell, released March 23, 2022
Rich Russo, upright bass - When We Walked Once Together, released April 20, 2022
Charlie Gushee, tenor sax - Kindred Spirits, released May 23, 2022
Cory Larson, guitar - Just Like This, released August 23, 2022
Paul Pricer, upright bass - Theme for a Dream, released September 6, 2022
Gary Fogel, drums - Ears Wide Open, released September 20, 2022
...and a free improvisation performed live at the Tenri Cultural Center - Breathing Peace on August 4, 2019 with Doug Cuomo, guitar - We Have Arrived, Together, released June 21, 2022
To learn more about my inspiration in composing these duets, please check out the program: Friends ...a series of duets
2021
On June 12, 2021 I presented an exciting joint collaboration with my wife, the artist Laura Salzberg. Laura's artwork is extrodinary in its use of color, shape, line and imagery. I was first attracted to her series of face paintings. These were abstract in nature; however to me, she went much deeper than the image of a face. She brought out an element of who they were , that part of each of us that we often keep hidden from others. She was able to bring out the soul of the individual. I chose three of these face paintings to create a musical statement. It is my attempt to bring out what is hidden in the image of the individual. The three movement suite is a directed improvisation for the group Sound House and features Doug Cuomo on guitar & effects with Gary Fogel on percussion.
Here is the program to learn more: Spaces Within
Video of the first movement of the Faces Suite - My Hand - performed by Sound House
Video of the second movement of the Faces Suite - Natural Force - performed by Sound House
Video of the third movement of the Faces Suite - She Told Me - performed by Sound House
2020
In 2020 I presented two new electro/ambient projects for solo trumpet that are quite personal to me. The first is a five movement suite called Fragile Beauty based on the comprehensive aesthetic system of Wabi Sabi. It is about accepting your own faults and realizing that it is OK. For a deeper understanding of this project, you can follow this link: Fragile Beauty But first a story as told to me by my friend Ken Lieberson:
There is an old tale about a musician whose piano is taken away. There is no way he can get to a piano. Perhaps he was in a concentration camp. He learns the violin. After attaining mastery, thousands of hours and many years later, he loses a finger in an accident. He re-learns a new bow grip.
Years later there is another war. His violin is destroyed. He cannot buy another. He learns, at his advanced age, to sing.
Throat cancer robs him of his voice, the singing voice. He learns to compose. Arthritis destroys his ability to write. His heart still sings. His face a radiant smile. His raspy words a joy for all who hear. Many come from far and wide just to be with him.
When he dies in the arms of his beloved children, his spirit resounds in their hearts.
To hear the Fragile Beauty Suite, go to this Spotify Playlist to listen: Fragile Beauty - released February 11, 2020
The second project in 2020 speaks to my life long journey in my search for Spirituality and Faith. I used the central themes as presented by the 2017 White Light Festival for each composition as follows (movement titles are mine and not those of the White Light Festival):
Faith - state of being grasped by an ultimate concern. Drifting to (a)void - video released March 10, 2020
Faith through - a variety of beliefs moving toward sophistication. The Already and the Not Yet - video released May 12, 2020
Faith - Coexistence of sameness and other. Recognizing and accepting the other. Other is self. Other and self are identical. Instead of Eloquent Words - video released July 14, 2020
State of Faith is inherently uncomfortable. Far Away is Close at Hand in Images of Elsewhere - video released September 8, 2020
To learn more concerning this project, follow this link: Spirituality and Faith
2019
The Seasons, a four movement work based on the series of paintings, The Four Seasons by Cy Twombly as an examination on the passage of time and the cycle of life. Composed for solo trumpet with prepared settings for improvisation on GarageBand. Each of the Seasons compositions can be heard at this Spotify Playlist: A New Direction, 2019 - 2020:
Winter Solstice - December 21, 2018, Winter
Vernal Equinox (Spring) - March 20, 2019, Spring
Summer Solstice - June 21, 2019, Summer
Fall Equinox (Autumn) - September 23, 2019, Autumn
For more information, you can go here to read about my inspiration concerning the Seasons project.
The Jazz Police from Seattle, WA, under the direction of James Rasmussen performs the big band arrangements and compositions of Bill Stevens. The Jazz Police is one of the premier ensembles performing in the Pacific Northwest and has been in existence since 1987. Bill was an original member of the band from 1987 - 1990.
Each month during 2019, I released an audio recording of the Jazz Police performing one of my big band compositions or arrangements on all of my social media platforms.
For more information, you can go here to read about my inspiration concerning the big band arrangements and compositions written for the Jazz Police Big Band.
That's All You Need to Know - released December 19, 2019
2018
New Album: Connections
Please find the liner notes here which includes:
* information on the three suites (Music for Dance in Three Movements, Please Return - based on the artwork of AK Dolven and The Flock and the Shadow - poetry by Eldrid Lunden)
* a video of the Dance (here) choreographed by Luba Ash, lighting by Andre Vasquez and directed by Dexter Buell
* images of the three paintings by AK Dolven (how to reach every corner, don't worry I'll lift the sky and teenagers lifting the sky)
* the translation to the poetry of Eldrid Lunden as spoken by Anja-Christin Nielsen in the original Norwegian language
* meet the musicians: Jordan Young, Sean Moran, Hyuna Park, Harry Miller, Luca Rosenfeld, Evan Lawrence, Gary Fogel, Misia Vessio, Rosdeli Marte, Anja-Christin Nielsen and engineer, Peter Karl
2017
****On May 6, 2017 I presented the first of a three part concert series entitled Harmonic Explorations. This performance took place at the Treehouse in Manhattan thanks to both Richard Shaoul, owner and Luca Rosenfeld, curator. Along with myself on trumpet and flugelhorn we had Braden Smith on tenor sax, Hyuna Park on piano, Luca Rosenfeld on upright bass and Gary Fogel on drums. This first concert was dedicated to my composition teacher at the University of Miami, Ron Miller who opened my eyes and ears to the possibilities of modal Jazz harmony. Links are provided below to view the videos of this evenings performance.
First Set - Harmonic Explorations I
In Search of Consolation (Incomplete)
Second Set - Harmonic Explorations I
Second Set Conclusion: I Hope I'm Not Taking Too Much of Your Time
***On September 30, 2017, I presented the second of a three part series of concerts - Harmonic Explorations II, based on the concepts of chromaticism in writing and improvising as taught by Ron Miller & David Liebman at Spectrum in Brooklyn, NY. Joining me for this second concert was Richard Philbin on tenor saxophone, Harry Miller on keyboard, Luca Rosenfeld on upright bass and on drums, Gary Fogel. Please find below video links to each of the four compositions performed that evening:
**On Thursday, December 14, 2017 at the historic 5C Cafe & Cultural Center we presented the third and final performance of the Harmonic Explorations Series with a focus on re-imagined standards as taught by Ron Miller and David Liebman. With me once again was Richard Philbin on tenor sax, Harry Miller on piano, Luca Rosenfeld on upright bass and on drums, Gary Fogel. Please find below the video links to see and hear the Harmonic Explorations III concert:
D.O.S. (based on Dear Old Stockholm by Bill Stevens)
Yesterdays (new harmony by Bill Stevens)
Beautiful Love, part 1 (new harmony by Ron Miller - head and piano solo)
Beautiful Love, part 2
I Thought About You (new harmony by Bill Stevens)
Green Street, part 1 (based on Green Dolphin Street by Ron Miller)
Green Street, part 2
2016
On June 24, 2016 I had the amazing fortune of performing my new suite "As Though I Had Wings: a suite for Chet Baker" at the Brooklyn Conservatory of Music. The music and spoken word recitation was composed and arranged by Bill Stevens and featured Bill Stevens on trumpet, Josh Sinton on bari sax and bass clarinet, Corey Larson on guitar, Paul Pricer on upright bass and Brian Woodruff on drums. With spoken word by Ira Rosenberg. I was truly humbled at the level that these performers brought to my music and their ability to bring my concept to life. I am forever grateful for their contribution in fulfilling a dream to its conclusion. I am also thankful for the audience of friends and family, as well as those interested in celebrating the legacy of Chet Baker who came out for the performance. Please find below a video of our performance of As Though I Had Wings, a suite for Chet Baker at the Brooklyn Conservatory of Music.
My second major project for 2016 was performed on Wednesday, September 21, 2016 at Silvana on 116th Street. The Bill Stevens, Rich Russo, Gary Fogel Trio with special guests Ira Rosenberg and Jamie Winnick presented the Spoken Word Project.
We performed the spoken word suite, "Restless Motion" based on the poetry of Joan Egeland-Scott with recitation by Ira Rosenberg and Jamie Winnick.
Next the Trio with Ira Rosenberg on spoken word recitation premiered "Le Jetee". Le Jetee is a spoken word piece based on the narration to the 1962 film by Chris Marker, "Le Jetee". The musical content of this work is based on the Modes of Limited Transposition of Olivier Messien.
You can view the video of each suite below.
On Friday, November 18, 2016 I presented a Lennie Tristano Retrospective that featured Bill Stevens-trumpet, Nick Green-alto sax, Braden Smith-tenor sax, Corey Larson-guitar, Ben Rosenblum-piano, Paul Pricer-upright bass and on drums, Brian Woodruff. This performance took place at the Brooklyn Conservatory of Music on the 38th anniversary of Lennie Tristano's passing and was dedicated to my teacher, friend and mentor Joe Solomon and to the memory of Connie Crother's who passed away in August.
You will find below the videos from the Lennie Tristano Retrospective as well as some documents that were distributed at the concert including a Memories of Lennie Tristano booklet (edited by Paul Keegan) and a detailed contrafact sheet of lines written by Lennie Tristano, his students, colleagues and peers. On my pedagogy page you will find a document detailing the instructional concepts that Lennie Tristano used in his teaching including the expansion of these concepts by Sal Mosca as taught to me by Joe Solomon, himself a student of both Lennie Tristano and Sal Mosca.
317 E 32nd Street, Line for Lennie, Line for Monk
You Go to My Head, Two, Not One
Sun-Conscious-Lee, Line for Gil, Background Music, Some Other Line
Line for Joe featuring on upright bass, Joe Solomon
LennieTristanoMemories-Bill_Stevens_Paul_Keegan.pdf
Tristano_and_Company_Contrfacts.pdf
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