"By now, there can be no doubt that pianist-composer Iyer stands among the most daringly original jazz artists of the under-40 generation," writes Howard Reich in the Chicago Tribune. The American-born son of Indian immigrants, VIJAY IYER (pronounced "VID-jay EYE-yer") is a self-taught creative musician grounded in American jazz and popular forms, and drawing from a wide range of Western and non-Western traditions. He was described by The Village Voice as "the most commanding pianist and composer to emerge in recent years," by The New Yorker as one of "today's most important pianists... extravagantly gifted," and by the L.A. Weekly as "a boundless and deeply important young star." The breadth and depth of Iyer's recorded output defy any simple description. His music has covered so much ground at such a high level of acclaim that it is easy to forget that it all belongs to the same person. Iyer's latest release is Historicity, featuring a surprising set of covers rendered in his signature style in classic piano-trio format. The album has become one of the best-reviewed jazz albums of 2009: "Presto! Here is the great new jazz piano trio." (New York Times) "Truly astonishing... they make challenging music sound immediately enjoyable. " (National Public Radio) "A jewel... 9 out of 10" (PopMatters.com) Over the previous decade, Iyer's celebrated quartet featuring award-winning saxophonist Rudresh Mahanthappa mined "the magical and murky, imagined interzone, where the music of the Indo-Asian Diaspora meets the Western Jazz tradition... establish[ing] the next extension in both traditions" (All Music Guide). They document "some of the freshest, most compelling jazz today" (NPR) on four critically hailed discs, Panoptic Modes (2001), Blood Sutra (2003), Reimagining (2005), and Tragicomic (2008), each garnering glowing worldwide praise. But alongside these works sit several vastly different, equally important and groundbreaking collaborations. Foremost are In What Language? (2004) and Still Life with Commentator (2007), Iyer's politically searing, stylistically omnivorous large-scale works with poet-performer Mike Ladd ("unfailingly imaginative and significant" - JazzTimes). On another end of the spectrum, Your Life Flashes (2002), Simulated Progress (2005), and Door (2008) capture the innovations of the experimental collective Fieldwork ("phenomenal... incredible, challenging, and forward-thinking" - All Music Guide). And last but not least, Raw Materials (2006, "a total triumph from beginning to end" - All About Jazz) documents "one of the great partnerships in jazz" (Chicago Tribune) - the duo of Iyer and Rudresh Mahanthappa. All of Iyer's albums have appeared on best-of-the-year lists in dozens of major media, ranging from JazzTimes, Jazzwise, Jazzman, Downbeat, and The Wire, to ArtForum, National Public Radio, The Utne Reader, The New Yorker, and The Village Voice. As significant as his recordings have been in the jazz world, Iyer's eclectic accomplishments extend well beyond them. Iyer recently contributed a remix for the reissue of British Asian electronica pioneer Talvin Singh's Mercury Prize-winning OK, and he also created a series of cues for the sports channel ESPN. Iyer's quintet suite Far From Over, commissioned by the 2008 Chicago Jazz Festival and debuted before an audience of 30,000, and was praised in the Chicago Tribune as "making music history... a potential masterpiece... searing, original, and dramatically charged... a shattering, epic composition." His orchestral work Interventions was commissioned and premiered by the American Composers Orchestra in March 2007 under the baton of Dennis Russell Davies. It was praised by The New York Times as "all spiky and sonorous," and by the Philadelphia City Paper for its "heft and dramatic vision and a daring sense of soundscape." Other works include Mutations I-X (2005) commissioned and premiered by the string quartet Ethel; Three Episodes for Wind Quintet (1999) written for Imani Winds; a "ravishing" (Variety) score for the original theater/dance work Betrothed (2007); and the prize-winning score for Teza (2008) by legendary filmmaker Haile Gerima. Across this diverse output, Iyer's artistic vision remains unmistakable. His powerful, cutting-edge music is firmly grounded in groove and pulse, but also rhythmically intricate and highly interactive; fluidly improvisational, yet uncannily orchestrated; emotionally compelling, as well as innovative in texture, style, and musical form. Its many points of reference include jazz piano titans such as Monk, Ellington, Tyner, Alice Coltrane, Andrew Hill, and Randy Weston; the classical sonorities of composers such as Reich, Ligeti, Debussy, and Bartok; the low-end sonics of rock, soul, funk, hip-hop, dub, and electronica; the intricate polyphonies of African drumming; and the vital, hypnotic music of Iyer's Indian heritage. A perennial critical favorite, Iyer has repeatedly won multiple categories of the Downbeat Magazine International Critics' Poll, including Rising Star Jazz Artist (2006, 2007), Rising Star Composer (2006, 2007), and Rising Star Pianist (2009). In the last two years he graced the covers of five music magazines: Downbeat (US), Jazzwise (UK), JazzThetik and JazzPodium (Germany), and Concerto (Austria), and he was previously named Up & Coming Musician of the Year in the Jazz Journalists Association's Annual Jazz Awards. His many other honors include the prestigious 2003 CalArts Alpert Award in the Arts and a 2006 Fellowship in Music Composition from New York Foundation for the Arts. As a composer/performer, Iyer has received commissioning grants from the Rockefeller Foundation MAP Fund (2000, 2001, 2005, 2009), the New York State Council on the Arts (2002), Creative Capital Foundation (2002), Mary Flagler Cary Charitable Trust (2002, 2004), American Composers Forum (2005), Chamber Music America (2005), Meet The Composer (2006), and the Jazz Institute of Chicago (2008). Iyer's major engagements as a composer-performer-bandleader include the Next Wave Festival at the Brooklyn Academy of Music; the Library of Congress, the Smithsonian Institution, and the Kennedy Center in Washington, D.C.; The Asia Society, Merkin Hall, Zankel Hall, The Kitchen, and the Lincoln Center Festival in New York City; the Painted Bride Art Center and the Annenberg Center in Philadelphia; the Chicago Jazz Festival and Chicago Symphony Center; the New World Theater at the University of Massachusetts, Amherst; the TBA Festival at the Portland Institute of Contemporary Art; the Roy and Edna Disney CalArts Theater (REDCAT) in Los Angeles; Memorial Hall at UNC Chapel Hill; Lisner Auditorium at George Washington University; the Wexner Center at Ohio State University; The Walker Art Center in Minneapolis; Buffalo's Albright Knox Gallery; the McCarter Theater at Princeton University; the Max M. Fisher Music Center in Detroit; Cal Performances at U.C. Berkeley; and international music festivals around the world. Iyer has joined forces with a wide range of contemporary artists, including Steve Coleman, Roscoe Mitchell, Amiri Baraka, Wadada Leo Smith, Dead Prez, Amina Claudine Myers, Butch Morris, George Lewis, Oliver Lake, Miya Masaoka, Matana Roberts, Trichy Sankaran, Talvin Singh, Pamela Z, Imani Uzuri, Will Power, Suphala, Dafnis Prieto, Burnt Sugar, Karsh Kale, Shujaat Khan, DJ Spooky, High Priest of Antipop Consortium, John Zorn, Bill Morrison, and many others. A polymath whose work has spanned the sciences, arts, and humanities, Iyer holds a B.S. in Mathematics and Physics from Yale College, and a Masters in Physics and an interdisciplinary Ph.D. in Technology and the Arts from the University of California at Berkeley. He was chosen as one of nine "Revolutionary Minds" in the science magazine Seed, and his research in music cognition has been featured on the radio programs This Week in Science and Studio 360. A faculty member at New York University and The New School University, he has also given master classes and lectures in composition, improvisation, cognitive science, jazz studies, and performance studies at California Institute of the Arts, Columbia University, Harvard University, Manhattan School of Music, and the School for Improvisational Music, among others. His writings appear in Music Perception, Current Musicology, Journal of Consciousness Studies, Critical Studies in Improvisation, Journal for the Society of American Music, and the edited anthologies Uptown Conversation: The New Jazz Studies (Columbia University Press), Sound Unbound (MIT Press), and Arcana IV (Hips Road). He is a Steinway artist.

Newark-born composer and multi-instrumentalist Tyshawn Sorey (b. 1980) is celebrated for his incomparable virtuosity, effortless mastery and memorization of highly complex scores, and an extraordinary ability to blend composition and improvisation in his work. He has performed nationally and internationally with his own ensembles, as well as artists such as John Zorn, Vijay Iyer, Roscoe Mitchell, Muhal Richard Abrams, Wadada Leo Smith, Marilyn Crispell, George Lewis, Claire Chase, Steve Lehman, Jason Moran, Evan Parker, Anthony Braxton, and Myra Melford, among many others. The New York Times has praised Sorey for his instrumental facility and aplomb, “he plays not only with gale-force physicality, but also a sense of scale and equipoise”; The Wall Street Journal notes Sorey is, “a composer of radical and seemingly boundless ideas.” The New Yorker recently noted that Sorey is “among the most formidable denizens of the in-between zone…An extraordinary talent who can see across the entire musical landscape.” Sorey has composed works for the Los Angeles Philharmonic, the International Contemporary Ensemble, soprano Julia Bullock, PRISM Quartet, JACK Quartet, TAK Ensemble, the McGill-McHale Trio, bass-baritone Davóne Tines, Alarm Will Sound, the Louisville Orchestra, and tenor Lawrence Brownlee with Opera Philadelphia in partnership with Carnegie Hall, as well as for countless collaborative performers. His music has been performed in notable venues such as the Walt Disney Concert Hall, the John F. Kennedy Center for the Performing Arts, the Village Vanguard, the Ojai Music Festival, the Newport Jazz Festival, the Kimmel Center, and the Mostly Mozart Festival at Lincoln Center. Sorey has received support for his creative projects from The Jerome Foundation, The Shifting Foundation, Van Lier Fellowship, and was named a 2017 MacArthur fellow and a 2018 United States Artists Fellow.

An award-winning saxophonist and composer, Lehman – who holds a doctorate in composition from Columbia University – is widely celebrated for his “sure-footed futurism” (New York Times) in the domains of modern jazz and contemporary classical music. Here, he showcases yet another side of his astonishing creativity in producing and overseeing nearly every aspect of Xaybu. The project makes frequent use of advanced compositional techniques and cutting-edge improvisation: Each aspect of Lehman’s musical identity is an inextricable part of this artistic statement. Pulling this off requires enormous trust and commitment among the musicians, which is only possible through Lehman’s longstanding musical relationship with the members of the group. HPrizm (a.k.a. High Priest), a legend of New York’s underground hip-hop scene and a founding member of Antipop Consortium has been one of Lehman's closest collaborators for almost two decades. Saxophonist Maciek Lasserre, began studying with Lehman in 2005 and introduced him to the burgeoning Senegalese hip-hop scene in 2010. Lasserre later urged Lehman to include Gaston Bandimic – one of Senegal’s most distinctive young rap stars – as a founding member of Sélébéyone. Drummer Damion Reid has also been an integral member of Lehman’s ensembles since 2006. His innovative drum set adaptations of J-Dilla beats on Robert Glasper’s In My Element (2007), are often cited as the beginning of the “drum set as MPC” wave amongst the current generation of young drummers. True to form, Reid’s playing on Xaybu is remarkably adept at moving back and forth between electronic and acoustic textures – check out his work with brushes at the beginning of “Dual Ndoxol.” Pieces like “Gagaku,” “Zeraora,” and “Gas Akap” highlight Reid’s improvised interactions with both saxophonists in a series of explosive duets.
Tracks like “Djibirl” and “Lamina” feature unconventional sonic landscapes that throw HPrizm and Bandimic’s searing lyricism into relief. Both integrate contemporary notions of Islamic mysticism into their rhyme schemes, and frequently mine profound connections between spirituality and artistic practices. On “Liminal” they calmly navigate a meticulously-crafted quagmire of polyrhythms and Lehman’s characteristic razor-sharp saxophone lines. Percussive accents drift in and out of time, ebbing and flowing one moment, and snapping into the grid the next. On “Souba,” Lehman’s experience in the contemporary classical music realm comes to the fore, with the subtle orchestration of harp, strings, flutes, and percussion, deftly shadowing the rhythmic nuance of Gaston’s rapid-fire verses.
Lehman reflects on the evolution of Sélébéyone: “When we first came together in 2016, I think we really had to work hard to see if this thing could even work, not just in terms of finding a way to perform together on stage, but even the artistic viability of it all. But, this time around, it really felt like we already know how to do this and we know what we’re about. And for that reason, there was very little discussion about how we were going to bring the second record to life. And even the guiding principle of xaybu/al-Ghaib emerged almost on its own. That fascination with the invisible, the imperceptible, the kind of concealed elements of spirituality and creativity is what really ties us all together. And I think this album kind of represents that on-going search for music that we haven’t heard before and that doesn’t sound like anything else.”