Skye Steele
Gig Seeker Pro

Skye Steele

New York City, New York, United States

New York City, New York, United States
Band Jazz

Calendar

This band has not uploaded any videos
This band has not uploaded any videos

Music

Press


""It's clear that this crew is ready to stretch out in a million directions and have tons of fun doing it... Steele's fabulous tone and inventive solo sense didn't just happen over night.""

You never know what’s coming next on LATE BLOOMER by the
SKYE STEELE Quintet (Skyesteele, no#). Violinist Steele and cohorts
(Steele, vln; Harel Shachal, rds; Ben Cassorla, g; Mike Savino, b;
Satoshi Takeishi, d; John Hadfield, perc) start out in folk territory,
and before long it’s clear that this crew is ready to stretch out in
a million directions, and have tons of fun doing it (Black is the
Color of My True Love’s Hair/ Monkey-See/ Evelynn/ Shine/ Echo
Park/ Pepperoni Pizza/ Rubber Ducky/ Freedom Impressionism/
Scarborough Fair/ My Funny Valentine/ Years Later/ I Don’t Want
to Live on the Moon/ The Fall/ Pretty Pretty Girls. 70:57). The
progressive folk vein of the traditional “Black Is the Color,” with
the drone of Steele’s violin against the dark hues of Haral Shachel’s
clarinet, gives way to “Monkey-See.” This one’s all jittery, its jump-
ing beat courtesy of percussionists Satoshi Takeishi and John
Hadfield. Steele’s fiddle darts in and out of the oddball structures
with great panache and rhythmic assurance. “Scarborough Fair”
is given a heavy modal treatment, while the too-familiar “My Funny
Valentine” gets a brief violin solo statement. The packaging includes
no information about the players, but I’ll bet Steele’s fabulous tone
and inventive solo sense didn’t just happen over night. It was a fine
couple of days in the studio (6/26-27/07, Brooklyn, NY). While they
get silly at times, like the chant of “Pepperoni Pizza” that opens that
multi-sectioned original, they always redeem themselves. On that
one, it’s the biting guitar solo by Ben Cassorla. But every song here
has something to recommend it, and it’s often Steele’s impressive
violin. This is absolutely worth a listen.
-Stuart Kremsky - Cadence Review, July 2008


""Steele makes his instrument sing joyously""

-Frank Rubolino Review of "Gaze at you Omphalos" - Cadence Magazine


""Some of the Best New Jazz New York City has to offer""

"the most fantastic violinist... the type of musician who made the violin transcend beyond all the classical music stereotypes into an ephemeral, personal space." - FreeNYC.net


"Violin prodigy Skye Steele goes beyond jazz"

There seems to be little limit for what Skye Steele, the young violinist, can do throughout the local musical landscape. A California native who has been in New York for seven years, he began his music studies when he was three years old, absorbing his mother’s classical influences and later falling in love with jazz via John Coltrane, Duke Ellington and Stephanie Grappelli.

After high school, he was accepted to the New School Jazz and Contemporary Music Program, where he honed his chops and expanded his musical horizons even further, joining musical theater-inspired rock band M-Lab (with whom he has recorded two albums) and also playing maracatu, an Afro-Brazilian beat that traces its origins to northeastern Brazil, with Nation Beat.

If that were not enough to keep him from getting any sleep, he’s also found the time to lead his own jazz quintet, which explores musical textures that Steele has been involved with over his short but prolific career. “I wanted to utilize all the elements without making it sound like a pastiche,” he says.

In a live setting, he mixes several original songs with reinterpretations of others that do not necessarily come from the jazz realm. “There are some familiar covers, such as [Paul Simon’s] ‘Scarborough Fair’ reinterpreted with a jazz rhythm and some Turkish elements,” he explains.

Steele further clarifies that his musical mix comes from having traveled while studying music (he has been to Brazil and Turkey, where he spent a lot of time researching different rhythms), and his love for the art of melody. “I spent a lot of time studying Turkish [music], I love Bach and I have a strong background in jazz,” he says. However, he doesn’t see his eclectic approach to music negatively. “I came to realize that no matter what I do, I’m always going have my own sound, creating a context for myself in all those different styles.”

He expects his upcoming concert to be “very special,” he says. “It’s going to be very explosive, with two drummers playing together.” Also joining them will be alto saxophonist Andrew D’Angelo, a veteran of the local jazz scene who will also be producing the sessions for the quintet’s upcoming CD.

May 24, Cornelia Street Café, 29 Cornelia St. (betw. 6th & 7th Aves. by W. 4th St.), 212-989-9319; 8:30 - New York Press by Ernest Barteldes


""Violin virtuoso Skye Steele... seems to be well on his way to becoming the next Jean-Luc Ponty""

--from review of Dizzy's Jazz club - 944 Magazine, San Diego


""Skye Steele is a genuine prodigy""

--from liner notes to "Radical Pop Music from the Ragtime Era" - Butch Thompson


""Eclectic and Graceful""

Skye Steele is an eclectic local violinist often heard with groups such as Jay Vilnai's Vampire Suit and EthnoEccentric String Trio. Tonight Steele leads his own graceful quintet, which interprets composers ranging from Erik Satie to John Coltrane. - Time Out New York


""Amazing""

"Steele's violin playing is often amazing" --from review of "Gaze at your Omphalos" - All About Jazz New York


Discography

Skye Steele Quintet, "Late Bloomer" 2007

as a Colaborator:
the EthnoEccentric String Trio, "Hands/Head" 2005
Scott Kettner's Nation Beat, "Maracatuniversal" 2006
Harel Shachal and Anistar, "Esh" 2005
Jay Vilnai's Vampire Suit, "Gaze at your Omphalos" 2004
M-Lab, "From Baser Elements" 2004
The Mitch and Skye Show, "Mitch and Skye Present" 2003

as arranger and/or soloist:
"The Aviator" Original Motion Picture Soundtrack, 2004
Drew Brody, "Drew Brody" 2007
The Manhattan Ragtime Orchestra, "Euphonic Sounds" 2005
The Manhattan Ragtime Orchestra, "At the Jazz Band Ball" 2007
Tania Eshagoff, "A Road to Teheran" 2006
Proud Simon, "Shoestring Universe" 2006
M-Lab, "A Bold and Hopeful Spark" 2006
Slow to Wake, "Slow to Wake" 2005
Megan Van Dusen, "On the Farm" 2006
John Robinson, "Trio Mahala" 2003

as performer/ensemble member:
Billy Fox, "The Uncle Wiggly Suite" 2007
The Animators, "How We Fight" 2006
Mick Moloney, "McNally's Row of Flats" 2006
"A String Tribute to Jet" 2004

Photos

Bio

Skye Steele has made a name for himself in New York City over the past decade as an adventurous and passionate improviser with a knack for finding his voice in almost any musical situation. From work with downtown-jazz mainstays like Steven Bernstein and Cyro Baptista, to hit-makers Willie Nelson and Rufus Wainwright, to world-music collaboratives Nation Beat and Anistar— Skye has paid dues in enough circles to have learned the importance and the practice of making a unique statement.

After moving to New York at the age of 17 and surviving as a subway busker for a year, Skye enrolled in the New School for Jazz and Contemporary Music, where he enjoyed the eye-opening tutelage of Mat Maneri, Andy Milne, George Garzone, and Jamie Hadad, among others. At the same time, Skye was pursuing a literary path in the New School’s Eugene Lang College, studying poetry with Sekou Sundiata.

After completing degrees in both areas in 2002, Skye plunged head-long into New York City’s music scene, following his teacher Maneri’s parting advice: “Join a lot of bands.” Before long, Skye was gigging regularly with Dixieland bands, rock bands, playing improvised music, Middle-Eastern jazz, North-East Brazilian roots music, Italian Tarantella, a couple of circus bands, and even with a couple of pop-stars. There were tours in Brazil, Europe, Israel, Turkey, Canada, and all over the US. The first few years were fun and frenetic. Skye studied with particular attention Turkish gypsy playing, and Brazilian fiddling. All of this had a drastic effect on the Jazz sound that Skye had cultivated previously.

In 2006, Skye began trying in earnest to make sense of all this. The Skye Steele Quintet was born on a cold winter night in the village before a sold-out house on Cornelia Street. The band was built with some of his best friends, and the music took big risks, vaulting wide gulfs between styles and centuries in an attempt to encompass the scope of information Skye had been picking up as a side-man. In the summer of 2007 the band cut it’s first record, late bloomer, and right after that things really started to come together. The unit shrank to a Quartet and opened up a more abstract harmonic palette. The music gained unity as influences were either sublimated or discarded. Reaching back to his literary days, Skye began building compositions around some of his favorite poems. Things are starting to get interesting….

At the same time, Skye’s side-man life has started to take a more cohesive shape. 2008 saw long-time collaborators Nation Beat release a critically-acclaimed album on Modiba Records, and embark on a National tour that included the Montreal Jazz Fest, Lincoln Center, and FarmAid (where Willie Nelson sat in with the band). Also in 2008, Skye has joined Ravish Momin’s Trio Tarana on tours in the US, Canada, and UK. Playing more often but with fewer people (and no more circus bands) means more time for composing and practicing, and Skye is a much happier fiddler this way.

From the Press:
"There seems to be little limit to what Skye Steele can do"
--Ernest Barteldes,
The New York Press

"the most fantastic violinist... the type of musician who made the violin transcend beyond all the classical music stereotypes into an ephemeral, personal space."
--Christopher Lehault, FreeNYC.net

“Graceful and eclectic”
--Time Out New York

"Often amazing"
-All About Jazz NY

"Steele makes his instrument sing joyously”
--Frank Rubolino, Cadence Magazine

Critical praise for The Skye Steele Quintet’s, late bloomer (2007):

“It’s clear that this crew is ready to stretch out in a million directions, and have tons of fun doing it…. Steele’s fiddle darts in and out of the oddball structures with great panache and rhythmic assurance…. Steele’s fabulous tone and inventive solo sense didn’t just happen over night.”
--Cadence Magazine, July 2008

“Eclectic and Graceful”
--Time Out NY, June 2008