Photo: Patrick T. Fallon/AFP via Getty Images
Run The World: How Pakistani Singer Arooj Aftab Reimagined Genre & Made GRAMMY History
Revisit Arooj Aftab's path to success through reimagining genre and delivering an innovative musical style — all of which helped her become the first Pakistani woman to ever win a GRAMMY at the 2022 GRAMMY Awards.
At the 2022 GRAMMY Awards, Arooj Aftab went from first-time GRAMMY nominee to history-making GRAMMY winner. Winning Best Global Music Performance for her single "Mohabbat," Aftab became the first Pakistani woman to ever win a GRAMMY.
But for Aftab, just as significant as that historic win was her inclusion in the all-genre Best New Artist category. "I feel like people in post-minimalist or classical or jazz circles have been a little bit otherized by the GRAMMYs, which has always kind of nodded toward the mainstream, mostly — that whole listening audience," she told GRAMMY.com at the time. "Being nominated as Best New Artist has shattered that — for me, at least — and I don't feel otherized anymore."
In this episode of Run the World, revisit Aftab's complex and visionary musical style, which blends jazz, minimalist pop and neo-Sufi leanings. Adding to her unique genre-bending sound, Aftab also takes inspiration from the vocal stylings of everyone from Mariah Carey to Billie Holiday to Indian performer and flautist Hariprasad Chaurasia.
After growing up in Saudi Arabia and Pakistan, Aftab moved to the U.S. at age 19 to attend Berklee College of Music in Boston. The now Brooklyn-based singer/songwriter first gained critical acclaim for Bird Under Water and Siren Islands in the mid-2010s, but it was 2021's Vulture Prince — a delicate, seven-track project dedicated to the memory of her late brother — that propelled Aftab to stardom.
"I wanted Vulture Prince to transcend boundaries," she explained to the L.A. Times last year. "I wanted to combine all of my experiences and have them translated in the music."
Charting a quiet, personal journey from grief to healing, Vulture Prince touches on something universal, and feels familiar to any audience — regardless of whether or not those listeners share cultural or musical history with its creator.
Watch the video above for more highlights of Aftab's career to date, and keep checking GRAMMY.com for more episodes of Run The World.
How To Watch The 2024 GRAMMY Nominations: St. Vincent, Jeff Tweedy, Muni Long, Kim Petras, Jon Bon Jovi, "Weird Al" Yankovic & More To Announce The Nominees; Streaming Live Friday, Nov. 10
The nominations for the 2024 GRAMMYs will be announced on Friday, Nov 10, starting at 7:45 a.m. PT / 10:45 a.m. ET. Watch it live on live.GRAMMY.com and YouTube.
It's that time again: The 2024 GRAMMYs is just a few months out — airing live Sunday, Feb. 4, from Crypto.com Arena in Los Angeles. Which means nominations for the 2024 GRAMMYs are just around the corner. On Friday, Nov 10, starting at 7:45 a.m. PT / 10:45 a.m. ET, nominations for the 2024 GRAMMYs will be announced via a livestream event airing live on live.GRAMMY.com. The nominations will also stream live on the Recording Academy's YouTube channel.
The 2024 GRAMMYs nominations livestream event will feature a diverse cast of some of the leading voices in music today, including St. Vincent, Jeff Tweedy, Muni Long, Kim Petras, 2024 MusiCares Person Of The Year Jon Bon Jovi, and many others, who will be announcing the 2024 GRAMMY nominees across all 94 categories. Plus, the livestream event will also feature an exclusive GRAMMY Nominations Pre-Show and Wrap-Up Show, which will both feature exclusive videos and conversations about the biggest stories and trends to come out of the 2024 GRAMMYs nominations.
City National Bank is the Official Bank of the GRAMMYs and proud sponsor of the 66th Annual GRAMMY Awards Nominations.
See below for a full guide to the 2024 GRAMMYs nominations livestream event happening next week:
How Can I Watch The 2024 GRAMMY Nominations?
When Are The 2024 GRAMMY Nominations Announced?
The 2024 GRAMMYs nominations will be announced Friday, Nov 10. The day kicks off with an exclusive GRAMMY Nominations Pre-Show, starting at 7:45 a.m. PT / 10:45 a.m. ET. Hosted by Emmy-winning TV host and “GMA3” contributor Rocsi Diaz, the GRAMMY Nominations Pre-Show will give music fans an inside look at the various initiatives and campaigns that the Recording Academy, the organization behind the annual GRAMMY Awards, supports on a year-long basis on its mission to recognize excellence in the recording arts and sciences and cultivate the well-being of the music community.
Afterward, starting at 8 a.m. PT / 11 a.m. ET, the GRAMMY nominations livestream event begins. The livestream event will begin with a special presentation announcing the nominees in the General Field categories, aka the Big Six, as well as select categories. On live.GRAMMY.com, exclusive videos announcing the nominees across multiple categories will stream as a multi-screen livestream event that users can control, providing a dynamic, expansive online experience for music fans of all genres. The nomination videos will also stream live on YouTube. The full list of 2024 GRAMMYs nominees will then be published on live.GRAMMY.com and GRAMMY.com immediately following the livestream event.
After the nominations are announced, stay tuned for an exclusive GRAMMY Nominations Wrap-Up Show. Co-hosted by "Entertainment Tonight" correspondents Cassie DiLaura and Denny Directo, the Wrap-Up Show will break down all the notable news and top stories from the 2024 GRAMMYs nominations. The GRAMMY Nominations Wrap-Up Show will stream live on live.GRAMMY.com as well as the Recording Academy's YouTube channel, X profile, Twitch channel, TikTok page, Instagram profile, and Facebook page.
Watch the 2024 GRAMMYs nominations livestream event and make sure to use #GRAMMYs to join the conversation on social media as it unfolds live on Friday, Nov. 10.
The schedule for the 2024 GRAMMYs nominations livestream event is as follows:
GRAMMY Nominations Pre-Show
7:45 a.m. PT / 10:45 a.m. ET
Nominations Livestream Event
8 a.m. PT / 11 a.m. ET
Nominations Livestream Event Ends & Full Nominations Revealed
8:25 a.m. PT / 11:25 a.m. ET
GRAMMY Nominations Wrap-Up Show
8:25 a.m. PT / 11:25 a.m. ET
^All times are approximate and subject to change.
Who's Announcing The 2024 GRAMMY Nominations?
Recording Academy CEO Harvey Mason jr. will be joined by GRAMMY winners Arooj Aftab, Vince Gill, Amy Grant, Jimmy Jam, Jon Bon Jovi, Samara Joy, Muni Long, Cheryl Pawelski, Kim Petras, Judith Sherman, St. Vincent, Jeff Tweedy, and "Weird Al" Yankovic, along with "CBS Mornings" co-hosts Gayle King, Nate Burleson, and Tony Dokoupil, to announce all the nominees for the 2024 GRAMMYs.
When Are The 2024 GRAMMYs?
The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will air live on Sunday, Feb. 4, at 8-11:30 p.m. ET/5-8:30 p.m. PT from Crypto.com Arena in Los Angeles. Music's Biggest Night will air live on the CBS Television Network and stream on Paramount+.
Mark your calendars now for the 2024 GRAMMY nominations happening Friday, Nov 10.
With additional reporting by Morgan Enos.
Photo: Jeff Kravitz/FilmMagic
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: John Shearer/Getty Images
Run The World: How Lady Gaga Changed The Music Industry With Dance-Pop & Unapologetic Feminism
In celebration of Women's History Month, get a glimpse of Lady Gaga's influential career as a luminary of dance-pop and her outspoken advocacy for women's rights.
Born Stefani Germanotta, Lady Gaga is one of the best-selling female artists in history. Rightfully so, Gaga's years of training — from taking piano lessons at 4 years old to briefly studying at New York University's prestigious Collaborative Arts Project 21 musical theater program — prepared her to become one of the most technical pop singers of all time. With the addition of her innovative creativity to her musical skill set, Gaga forged the perfect formula to become one of the biggest stars of her generation.
Lady Gaga created music under the pen name — a reference to Queen's hit "Radio Ga Ga" — years before she finally caught the eyes of Interscope executive Vincent Herbert, who she now credits for discovering her. Eventually, Lady Gaga was introduced to award-winning songwriter and producer RedOne to make her breakthrough album, 2008's The Fame, under Interscope imprint label Cherrytree Records.
Speaking to The Independent in 2009, she recalled her struggles to get radio airplay after releasing The Fame. "They would say, 'This is too racy, too dance-oriented, too underground. It's not marketable,'" she said. "And I would say, 'My name is Lady Gaga. I've been on the music scene for years, and I'm telling you, this is what's next.'"
And right she was: the year following The Fame's premiere, Lady Gaga received her first GRAMMY nomination for "Just Dance" at the 2009 GRAMMY Awards. Over a decade later, she's won 13 GRAMMYs and counts 36 GRAMMY nominations in total.
By 2016, Lady Gaga had four No. 1 albums under her belt, from Born This Way to Joanne. In 2018, she signed on to be the lead actress in Bradley Cooper's remake of A Star Is Born, also doubling as the songwriter and producer for the soundtrack. The release was an immediate success, debuting at the top of the Billboard 200 Albums chart and making Lady Gaga the first woman with five No. 1 albums in the 2010s. In 2019, Lady Gaga became the first person in history to win a GRAMMY, Oscar, BAFTA, and Golden Globe in a single year.
As a part of GRAMMY.com's ongoing commemoration of Women's History Month, we're looking back at Lady Gaga's influential career as one of the music industry's pop legends in this episode of Run The World. Extending Lady Gaga's impressively successful career as an entertainer is her philanthropy and advocacy work as a proud, outspoken feminist.
During her 2018 ELLE Women in Hollywood event, Lady Gaga gave an inspiring speech to bring awareness to sexual assault. "For me, this is what it means to be a woman in Hollywood. It means I have a platform. I have a chance to make a change. I pray we listen, believe, and pay closer attention to those around us in need. Be a helping hand. Be a force for change," Lady Gaga concluded after courageously sharing her story as a survivor.
"I would like to dedicate this song to every woman in America. To every woman who now has to worry about her body if she gets pregnant. I pray that this country will speak up and we will not stop until its right!" - Lady Gaga talking about abortion rights at The #ChromaticaBallDC pic.twitter.com/YjwlC0rg7C— Ryan | Lady Gaga 🏳️🌈 (@ryanleejohnson) August 9, 2022
She has also used her platform on stage to advocate for women. During her Chromatica Ball tour in 2022, she dedicated "The Edge of Glory" to women after the government overturned Roe v. Wade two months prior: "To every woman who now has to worry about her body if she gets pregnant, I pray this country will speak up, and we will not stop until it's right!"
Lady Gaga isn't just a musician or actress. She is a pioneer in change, a spokesperson for those whose voices might not get heard. She wants to see women, especially in entertainment, win while being able to claim their authentic femininity, as she told Glamour in 2017.
"I hope to see women thriving and happy, loving what they're doing, and being in control and powerful of what they create," she explained. "As much as we all love the fashion and the makeup and glamour, this isn't a beauty pageant. It's about the heart and the drive and the work."
Press play on the video above to revisit some of Lady Gaga's historic achievements throughout her groundbreaking career, and keep checking back to GRAMMY.com for more new episodes of Run The World.
Photo: Ebru Yildiz
Arooj Aftab, Vijay Iyer & Shahzad Ismaily On New Album 'Love In Exile,' Improvisation Versus Co-Construction And The Primacy Of The Pulse
When these three came together to make impressionistic, genreless, meditative music, they rose to support and bolster each other — and the result is 'Love in Exile,' a work of quiet integrity that exudes friendship and otherworldly beauty.
Which is borderline axiomatic, as all three musicians hail from improvisatory spaces.
Aftab, a GRAMMY-winning Urdu vocalist, has been clear about improvisation's importance to her work. Genre-spanning pianist and composer Iyer has forged a legacy throughout the creative-music space, including in what we tend to designate as jazz. As for bassist and Moog synthesist Ismaily, his sheer versatility and range in that realm is staggering.
Still, did the music the three made together count as improvisation? Not so fast, says Iyer.
"I don't even think that 'improvisation' is the right word for it, because it's actually just co-composition in real time," the pianist — also a Harvard professor — tells GRAMMY.com. "It's not taking solos or something. It's really like, OK, well, this is what the song is. Whatever's happening now, this is the song. So, what should happen next in the song?
That sovereignty of the now — and of each other — governs their new album, Love in Exile, the fruitage of this triangulation that arrives on Mar. 24. Together, Aftab, Iyer and Ismaily seem to slow time; the sound of tracks like "To Remain/To Return," "Eyes of the Endless" and "Sharabi" is capacious but never diffuse, abstract but never aimless.
Aftab's frequently described as "ethereal," but that doesn't really do her justice; despite the transportive nature of her natural instrument, she sounds steadfast, planted to the earth. On piano and Rhodes, Iyer adds tremulous textures that never intrude; they always buoy and support. The resounding heartbeat of Ismaily's bass will wham you in the solar plexus.
If any of this sounds a touch self-serious, the music sounds as natural as breath. And in conversation, Aftab, Iyer and Ismaily have an easy rapport and are quick to laughter.
Will they make more albums? Nobody's raring to prognosticate. "I love them," Ismaily says of his accompanists — in this sphere of ambient, drone, experimental, or whatever on earth you call it. "I love spending time with them, and for that reason alone, I hope that there is more time that I share with them.”
With the album release mere hours away and a tour coming up, read on for an in-depth conversation with these leading lights about the making of Love in Exile, the confluence of their experiences and expertises, and why they could make 50 more albums — or zero.
This interview has been edited for clarity.
How did you three creatively triangulate in the first place?
Aftab: I met Vijay at Merkin Hall in New York. I was invited to play a set before his set. He was doing this special collab: that was Thums Up with [Das Racist MC] Himanshu Suri [a.k.a. Heems], [rapper and drummer] Kassa Overall, and <a href="https://www.grammy.com/news/meet-son-lux-composer-trio-behind-everything-everywhere-all-at-once-movie">[Son Lux guitarist] Rafiq [Bhatia] as well.
I knew Vijay and his music from before, and I had always been like, "Wow, this guy, he is amazing." So, meeting him, I was a little, for sure, intimidated. Not intimidated, but definitely like, "Oh s—, it's Vijay."
But we did a little collab that night — just an impromptu, kind of improv thing — and it felt really great. I was so surprised that it was so easy and so beautiful and so musical. You don't expect that just happening, you know? You have to work hard to find that sort of musical collaborator.
And Shahzad: I had been told lots here and there in New York, "Hey, do you know Shahzad?"
Ismaily: [Singer/songwriter, rapper and bassist] Meshell Ndegeocello gave me [your record Bird Under Water] before I met you. She was like, "Hey, I think I'm going to be working with this person." So, she gave me that, and then I was obsessively listening to it for a while.
Aftab: Yeah, she connected us, basically. Meshell was going to produce Vulture Prince, before we even knew what it was — before we knew anything at all. But then she got busy, and then I produced it myself. But one of the things that she did was, like, "Hey, if you want to record in Brooklyn, there's this guy, Shahzad, who has this studio."
And I was like: Shahzad — this guy Shahzad again!
Iyer: I met this being named Shahzad pretty early after he moved to New York through [drummer and composer] Qasim Naqvi, who brought him into a Burnt Sugar situation. So, I was one of the OGs of Burnt Sugar, the band that [late writer, musician and producer] Greg Tate formed.
We would do these kinds of very open, improvised shows, or not even. It would really just be whatever happened, we would make something out of it. And that was where Shahzad started showing up and playing. It always just seemed like I never knew what he was going to play. One day, it might be drums. Another day, it might be acoustic guitar. So, he was this wild card.
And then we didn't really have a lot of chances to do anything together outside of that, until I finally called [Shahzad] and said, "Hey, can you do this thing with me and Arooj at [NYC avant-garde performance space] the Kitchen? That was in June of 2018. But I was certainly aware of Shahzad for eons.
What was the nature of the first music you made together? What mutual artistic groove did you all settle into?
Ismaily: It was truly an immediate, spontaneous listening response to what each of us were giving to each other in that moment.
Whether it was Vijay dropping a chord on the piano, and me putting my ear to the bass and trying to figure out, OK, where is he? Therefore, what will I play right now? Or, I may have started with a pulse on the bass and then Vijay came in, and then Arooj came in when she did. It was really the chemistry of who we were in the moment, and then it stayed there.
Iyer: I think it mattered that it was live.It was actually just like, OK, we've got to commit to this second. There's no do-overs here. This is a show. And I think that put us in the frame of mind of: OK, everything that happens is correct, is right. Everything that happens is meant to happen. So then, we just sort of aided that process, and it came through us.
Once your live dynamic as a trio was established, how did you go on to establish artistic parameters in the studio? How would you describe the ratio of improvisation versus previously written material?
Iyer: I think the method has always been co-construction. And since we committed to that from literally note one, or sound zero, at the first show five years ago, it's never not been that.
Aftab: I think there were definitely some soaring moments that we felt from the previous six gigs that we played before we went into the studio, but we never really wrote anything down or planned a structure. I definitely remember that even the first time we did it, we were dared to do it, really. There was a lot of super-hardcore listening and trust that was happening.
I was trusting where I thought I should come in. You know how you're like, Oh, I don't want to step on this person's toes? If it's not planned, you don't really know what the f— is going to happen. Or, If you're coming in, are you actually interrupting someone's thought? or whatever. But there was so much unspoken trust and communication between the three of us, anyway, and there was just such a great language of listening and playing happening.
Sometimes what happens is that when I start singing, everybody sort of steps back to give me space. And I hate that, because I'm just like: I am going to go with you guys. Don't make a clearing for me. It's boring now, because it's just me here alone. Play with me.
And they never backed away, and it was amazing. They have so much more than I do in terms of experience and wisdom in being musicians, and I think that every entry and exit point is coming from that — that experience that we carry as composers and musicians in our own right.
So, it's not prepared, but it is coming from [that]. It is a learned thing, and it is a skill, definitely, that's being applied there, that is a very difficult one — which is trust, intuition, listening, and basically being creative in that sense.
Ismaily: When we went into a studio after a few performances, I still felt an equal amount of gravity and focus as when we were playing live. So, I didn't have much of a different experience between the two.
Iyer: Yeah, it was basically that we learned from our live experiences how the music should go.
Arooj, I remember reading a quote from you about how you were more focused on the sound of your words than their literal meaning. What was your approach to choosing words in that regard — aurally, or even orally, as per open and resonant syllables?
Aftab: Yes, you're correct. The approach here was definitely to pretend to be an instrument, as well, to whatever extent that is possible as a vocalist.
I feel like there's this kind of idea that sometimes, vocalists are like, Yeah, I want the vocals to be an instrument, but to some degree, that's just not possible because it's not the same. You need vowels and stuff, and you need words to really get things going. Sometimes, the words are the instrument too. They're actually the keys sometimes.
So, I had fragments of poetry. Some of it's from Vulture Prince. Some of it's from Bird Under Water. And then, some of it's completely new stuff that I'd been thinking about. But I chose it based on the mood of where I thought the songs were going musically.
It's not entirely disjointed, but in terms of my intentional approach, it's not meant to be the focus. It's not meant to be the song. It's not meant to tell the story. I think I wanted the three of us to be telling the story — not just me, the singer. So, in that way, my intention was for it to be less intentional of an approach.
But of course, it's subtle. The listener and listen and be like: There's a vocalist, and bass player, and piano player, and it's a song. But, if you see, also, I'm not there 90% of the time. There's long sections where I'm not there.
So, I was interested in f—ing with this thing. The role of the vocalist and the lyrics and the storytelling, and how we can equalize the thing, for real. I'm still really inspired by it and playing with it. As you can see, I'm even messing it up in my own language of how to describe it. But it's fun, and it's great.
But the tone of the music itself: in a lot of the pieces, Vijay would start, and then it would definitely be something that I'd think of how it's making me feel, and go from there. Is it a theme of spring? Is it a theme of longing? Is it a theme of super-absolute despair? Is it feeling like: should I take it to a more hopeful place? That kind of stuff was all going on there.
Vijay, can you describe your pianistic approach to this music, perhaps as opposed to other music you're involved with?
Iyer: You know, what I think I was able to do inside of the music was focus on unity rather than focus on standing out as a pianist. So, really, all the choices are compositional rather than playerly or musicianly. I'm really never trying to grandstand at all, or say, Check this out. It's never that.
It's always more like, How do we hold each other together, and how do we keep it moving, and how do we build it? How do we sculpt the totality of this? So, all the choices I make are about that. It's not about piano stuff or keyboard stuff.
Sometimes, having the piano, the Rhodes, and various electronic things I'm doing gives me an expanded palette — a certain way to think compositionally. Even if it's just setting a certain tempo using the delay pedal on the Rhodes, so that then I can just play one note and I'm still in the song somehow. The pattern is kind of in line with what else is happening with Shahzad or something.
So, [it's] that kind of thing, where it's really constructive decisions about how to strengthen what's already here. How to offer something that others can strengthen. It's that kind of thing.
I just listened to Love in Exile on a terrific sound system, and I felt the pulse of your bass so powerfully in my chest. In my last interview with Vijay, he was talking about the primacy of the pulse, and I imagine you all feel the same way.
Ismaily: So, Vijay and Arooj and I have certainly had a plethora of experiences in music outside of this trio — playing with other people, playing in other contexts. And then many of those things make their mark on us, and then we bring that sense of personage into this trio.
I remember quite early on, when I began to play with [guitarist] Marc Ribot and [drummer] Ches Smith in this trio that we had. Marc would often say, sometimes somewhat aggressively: "Listen: rubato does not mean there's no pulse. If you start to hear me play in a free, nontraditional, non-chord-changes, rhythmic way, it does not mean I'm not feeling a pulse underneath that.
Marc Ribot had a very anti-languid, or lack-of-tension feeling about ambient spaces. He felt like when something ambient is taking place, you still viscerally feel the heartbeat of a pulse within that. Whether or not you indicate it, whether you only play a drone, you still feel a sense of time and connection with a rhythmic undertone.
That's one thing that flows into my positioning in this group. So, as things are taking place and Vijay is making a beautiful landscape and Arooj comes in with a few words, I'm still feeling a pulse, and then I start to play from that — whether I'm indicating it quite strongly and giving some sort of 5/4 doot-do, doot-do, or whether I'm still playing much longer phrases, but feeling an internal pulse within that.
The second thing is that I want to give a little shout-out to Badawi — [multi-instrumentalist and composer] Raz Mesinai, who I played with. He would call me in to play bass with him and suggest that I play in a hypnotic way, so that you just felt like your consciousness was unfolding across the desert — unfolding across a limitless landscape of sand dune after sand dune. Which feels the same, but you still feel movement and the subtlety of change.
These two threads of exterior experiences to this trio make their presence known as I'm sitting and playing with Vijay and Arooj.
Photo: Ebru Yildiz
After these album and touring cycles wind down, are there any concrete plans to make this particular configuration a going concern? And as an addendum to that, what would you like to tell the readers about anything else you're excited to be working on in 2023 and beyond?
Ismaily: It's been interesting to be doing press these last few days, because I often spend time with Arooj and Vijay just performing on stage, and not with a great deal of frequency. Over the last few days, here I am in a room with them, listening to them speak, sharing company with them.
Whatever comes — it may take place, it may not take place. I can get hit by a bus, so who knows? But, internally to myself, I have that feeling. And because I have that feeling, I will probably request to look toward it, at least with my own eyes and my own time and my own voice and my hands.
There's this band, Ida, whose music I was absolutely in love with in the '90s when I was working on becoming and working as a musician. They went on a long hiatus, and it looks very much likely that they're going to make another record, and I will get to produce it or be a significant part of it with them. That's what I'm looking forward to outside of this trio.
Aftab: I'm really excited for the album to come out, and I'm excited to see people's reactions to it. We're going to go on the road a little bit this year, which is going to be great, and that will probably ascertain if we're going to keep doing this. It's really all about how we feel — if we're really into that for this particular project. No advanced decision-making here.
So, yeah, we're probably going to do one [more], or maybe we're never going to do one again. Who the f— knows, right? I love it. I think that's the vibe. There's no business model.
And since we are going to play a lot of these shows without writing down anything, there will be so much new material. So, we may as well put out 50 more albums after this tour.
Iyer: So we could be like the Dead?
Ismaily: Oh, let's get your Grateful Dead space where we just have a huge parking lot of crazy people all the time!
Aftab: And then, yeah, my boring answer that is everyone's answer is: yes, I'm working on a new record. My new album is supposed to come out in 2024. I just produced a short album for Anoushka Shankar, which is going to come out in the fall.
Iyer: I do have a couple of things that may or may not come out this year. We kind of have to figure out what's the best moment for those things to happen. One is a trio album with Tyshawn [Sorey] and Linda [May Han Oh]. I guess you could say the follow-up to Uneasy. It may come out at the end of this year, or beginning of next year sometime.
The other is that there's a recording of three different orchestral works that might come out sometime this summer, by Boston Modern Orchestra Project.
And then I have pieces I'm writing for different ensembles. A classical pianist named Shai Wosner — I'm writing a piece for him and a string orchestra. I'm doing a piece for Sō Percussion, and a piece for this pianist named Vicky Chow. And I wrote a cello concerto that got recorded that may come out sometime as well.
[As per the future of this trio,] I imagine that anytime we are invited somewhere and are able to do it, that we will rise to it. And I imagine that could happen at any point in the rest of our lives. That's the kind of guy I am.
Whether that means there's going to be a bunch more albums or zero more albums almost doesn't matter to me at this point. If there's more music that we cherish that we want to share with the world in that particular way and go through a similar cycle again, then that would make sense. But I think that we'll always have the capacity to come together and create. And so as long as that is nurtured, then I'm content, as far as that goes.