Sandbox Percussion has been in LA the last week performing and working with percussion and composition students at a bunch of different schools, but the real reason we’re here is for a performance tomorrow night that celebrates the music of one of our closest friends and collaborators, Thomas Kotcheff.
It’s finally happening…I’m thrilled to announce that my first solo record, Memory Palace, will be released on January 6, 2017 on VIA Records. This album is a collection of pieces that I’ve commissioned over the past several years, and each work stretches the capabilities of percussion music in a unique way.
Last month, Sandbox Percussion traveled to the Phillips Collection in Washington DC. The Phillips hosts the longest-running concert series in DC, and it is one of the most gorgeous rooms that I have ever played in. They also boast one of the most supportive audiences that I’ve ever experienced. From the moment we walked on stage, the energy and excitement were palpable. Things got a little crazy during a performance Steve Reich’s Drumming…a retired meteorologist ran up to the front of the room, waved hello to us, and then proceeded to dance an ecstatic and completely incredible jig in front of the audience. That’s a first for us…
The Washington Post was there, and check out what they had to say about the show. I also gave a performance of the first three movements of Andy Akiho‘s LIgNEouS suite with the Amphion String Quartet, a performance that we will repeat at St. Bart’s in NYC on April 25th.
My good friend and collaborator Paola Prestini just had a wonderful article in Vanity Fair written about her and her new venue, National Sawdust. In a companion piece, she listed 7 of her favorite emerging artists, and I’m honored to be among them.
“Let’s talk about rhythm. Ian David Rosenbaum is without doubt one of the best new percussionists on the scene. (He’s also—yes—another National Sawdust curator.) His rise has been meteoric—he can play absolutely anything, as he proved to me yet again when he performed in my piece, Epiphany. I love that Ian’s not just waiting around for people to ask him to perform; he’s defining the trajectory of his career by seeking out and discovering artists he’d like to work with. Bonus points for the fact that he’s wrapping up his third year of The Chamber Music Society of Lincoln Center’s CMS Two program—he’s only the second percussionist to have been invited to become a member. In the circles I run in, that is a very big deal.”