JAZZMAN PENS SONGS OF PROTEST
Ryan Keberle fears the decline of American democracy
I think that most Americans, regardless of their political persuasion, are desperate for an open and constructive dialogue between opposing sides.
Given that Ryan Keberle named his band Catharsis, it’s fair to assume that the 37-year-old Brooklyn-based trombonist has a few things to get off his chest.
These days, it’s his concern with where his country under U.S. President Donald Trump is heading. After Trump was elected last November, Keberle was moved to write and arrange music in response.
His protest album, released in mid-June, is called Find the Common, Shine the Light. It begins with the call-to-action title track, sung stirringly by vocalist-guitarist Camila Meza, imploring listeners to address the rift of American politics and society. Among the album’s covers are versions of The Times They Are A-Changin’ and Fool on the Hill.
Below, Keberle discusses protest music in the time of Trump and more.
Q What led you to release Find the Common, Shine the Light?
A Although I’ve always felt my music, and most creative music, serves a purpose, after the recent U.S. presidential election I felt a powerful need to use my music and my platform as a performing artist to do all I can to bring clarity and a message of positive social change to my listeners and the public at large.
Heeding the call, I collaborated with my lyricist, Mantsa Miro, to write a protest song — a song that has become the band’s and the record’s anthem, Become the Water. Q Did you feel an urgent need to get this music out?
A Absolutely. The timeline for this record was our quickest turnaround to date. I felt, and feel even more so now, that with every passing day our country continues to devolve into something that no longer resembles American democracy.
Q Why are The Times They Are A-Changin’ and Fool on the Hill on the record?
A Each of these songs has its own story. Fool on the Hill is a song that I’ve listened to hundreds, if not thousands, of times. My father had the Beatles’ Magical Mystery Tour on vinyl and I have vivid memories of experiencing some of my first musically cathartic moments while listening to that incredible album. The arrangement of Fool, with just a few minor edits, was one I did almost 15 years ago for my graduation recital at Juilliard, but I’ve never recorded it until now.
While sifting through other protest songs to cover, I was blown away by the unbelievably poignant lyrics of Dylan’s The Times They Are A-Changin’ and knew I had to arrange the song for Catharsis.
Q Do you think your political concerns are commonly held by jazz artists and fans?
A From what I can tell through my own personal relationships, and opinions shared on social media, I think the jazz world (both performers and listeners), and most likely the music world at large, is overwhelmingly liberal. And, in some ways, this is why I feel it’s important to look for answers and solutions that somehow bridge the cultural divide that defines America at this moment. Become the Water speaks directly to this point.
Q Are there minuses as well as pluses to making music that’s so political?
A I think the most obvious drawback to being overtly political through one’s music is the legitimate fear of alienating fans and listeners who we all work so hard to find and engage with. However, I’ve tried to build my career and all the art that I create from a place of brutal honesty and integrity, from a place of personal and individual expression. This record is nothing more than a continued pursuit of that goal.
Q You recently toured this music in Europe. How was it received?
A We’ve performed this music in Europe, rural America, middle America, and liberal urban America and have found overwhelming support and enthusiastic responses each and every time.
I think that most Americans, regardless of their political persuasion, are desperate for an open and constructive dialogue between opposing sides and this project can help kick-start these types of discussions.