David Crowell is a composer and instrumentalist (saxophones, guitar) based in New York City. His work crosses stylistic boundaries, encompassing contemporary classical composition, improvisation, jazz, and experimental rock and pop. Artistic processes vary piece by piece, from composing purely for acoustic instruments to the use of electronics and manipulations of originally sampled sound. Improvisation plays an important role in generating material, either to exist on its own terms or for later development in a more deliberate compositional manner. The New York Times has called his music “coiled and contained, but pulsing with small, ecstatic fibrillations”, while The Guardian says that “Crowell constructs geometric structures that have a rare sense of kinetic energy: this is music that glistens, sparkles, and dances with joy.” His music has been released on New Amsterdam, Better Company, Innova, National Sawdust Tracks, Coviello Classics, and Skirl.
David's music has been performed at New York City's Museum of Modern Art, Park Avenue Armory, Bravo! Vail, Lucerne Festival Spotlights Series, Brooklyn Academy of Music, Dumbarton Oaks, Library of Congress, Phillips Collection, Kennedy Center REACH, Bang on a Can Summer Marathon, the London Jazz Festival, Cortona Sessions for New Music, Kultursommer Wien, Caramoor Festival, Cleveland International Classical Guitar Festival, American Music Festival (EMPAC), Tribeca New Music Festival, MATA Festival, National Sawdust, Merkin Hall, Le Poisson Rouge, Barbes, and Joe’s Pub.
Commissioning ensembles and institutions have included A Far Cry, Argus Quartet, JACK Quartet, Sandbox Percussion, New Morse Code, NOW Ensemble, icarus Quartet, Ensemble Illyrica, Dumbarton Oaks, Da Camera Los Angeles, Tribeca New Music Festival, Arts at the Park, Boston Conservatory, University of Massachusetts, University of North Texas, University of Kentucky, and the University of Wisconsin. Notable solo artists Mak Grgic, Brian Archinal, Dan Lippel, Colin Davin, Ayano Kataoka and Ian Rosenbaum have performed his work internationally.
David’s music has been supported through composer fellowships, grants, and residencies at Dumbarton Oaks, New York State Council on the Arts, New York Foundation for the Arts, I-Park Foundation, Ellis-Beauregard Foundation, Avaloch Farm Music Institute, Bang on a Can Summer Institute and the Mizzou International Composers Festival. He has presented numerous lectures on his work, including at Dumbarton Oaks, Manhattan School of Music, Duquesne University and California State University (Sacramento) where he was the featured composer at the Festival of New American Music.
As a member of the Philip Glass Ensemble (2007-16), and performing on saxophones and flute, David toured four continents during the 2012-15 revival of Einstein on the Beach, cited by Alex Ross of the New Yorker as "the music event of the year ... a creation of timeless artifice ... whose beauty blazes on." Other performance highlights are the New York Philharmonic, the Los Angeles Philharmonic, with Steve Reich at the Brooklyn Academy of Music, the Bang on a Can All-Stars, the Bang on a Can Orchestra w/ Denardo Coleman and conducted by Awadagin Pratt, Ensemble Signal, and the Asphalt Orchestra.
David's genre-defying, composer-led band, Empyrean Atlas, has been featured numerous times on WNYC's New Sounds, and on Soundcheck for a live performance and interview with John Schaefer. Echolocation (Poly Rush) made the New York Times Pop Music Playlist for best newly released tracks in 2017, and the rock band Wilco promoted Inner Circle as one of their favorite records of 2014. CD releases: Empyrean Atlas, Inner Circle, Poly Rush.
Ongoing collaborations with other composers, performers, and visual and multimedia artists include two recent music/videography projects with cellist/singer Iva Casian-Lakos, for which David composed and produced the music and videography. Also Spirit Spout, a collaboration with Irish guitarist and composer Simon Jermyn where new composition, jazz, ambient and electronic music are all present but remain resistant to categorization. For an earlier project in conjunction with Carlito Carvalhosa’s exhibition, Sum of Days, at the Museum of Modern Art (NYC), David composed and performed an extended work for multiple saxophones and electronics titled Eucalyptus, which was later released on Innova. Emmy Award winner, John Malashock, choreographed a new dance performance to Waiting in the Rain for Snow, as part of the San Diego Repertory Theatre's program Minor Fall, Major Lift, and choreographer Maria Basile created new work for David's string quartet, The Open Road, titled PathRest and performed by San Jose's sjDANCEco.
David received a PhD in composition at Stony Brook University and a Bachelor of Music in Jazz Saxophone Performance from the Eastman School of Music. He has studied improvisation with Ralph Alessi, Don Byron, Peter Epstein, Steve Coleman and Ravi Coltrane through New York’s School for Improvisational Music, with Julia Wolfe, Michael Gordon and David Lang as a composition fellow at the Bang on a Can Summer Festival, and with Donnacha Dennehy and Steven Stucky as composer in residence at the Mizzou International Composers Festival.
David is currently on the music theory faculty at Montclair State University and Third Street Music School.
Praise for Point / Cloud
Out May 3rd, 2024 on Better Company Records
“Crowell’s minimalism is wonderfully rich and harmonically complex: busy arpeggios sketch out dense, extended chords that constantly mutate and move in unexpected directions…Throughout, Crowell constructs geometric structures that have a rare sense of kinetic energy: this is music that glistens, sparkles, and dances with joy.” John Lewis, The Guardian (named Contemporary Album of the Month)
"Composer and multi-instrumentalist David Crowell has minimalist bona fides: he played in the Philip Glass Ensemble for nearly a decade. But Crowell draws from a number of traditions in his work: prog rock, jazz, folk, and other contemporary classical idioms. His latest, Point / Cloud, features works for percussion, guitars, and a moving finale for voice, cello, and Crowell’s instrumentation…Point / Cloud is uniformly excellent, a recording that is among my favorites thus far in 2024.”
Christian Carey, Sequenza21
“Polyrhythmic Minimalism for Daydreaming.”
Ted Gioia, The 100 Best Recordings of 2024
“Crowell proves his expertise at creating nuanced landscapes of feeling using spare forces…across the whole album, Crowell dazzles in both the conception and execution of his smart miniatures.”
Jeremy Shatan, AnEarful
“The sounds are haunting and captivating [2 Hours in Zadar], as is the entire disc.”
David Olds, WholeNote
quotes for previous work
"Depending on the tune, the interwoven triple-guitar gamesmanship of Empyrean Atlas can run in a few different directions: toward the mathy post-punk of Horse Lords or Battles, toward warmly anesthetic ambience (say, Pink Floyd meets Bradford Cox), or toward West African high life. On “Echolocation,” the clangy, lapping repetitions feel most in line with that last influence. The quintet’s movements are coiled and contained, but pulsing with small, ecstatic fibrillations." Giovanni Russonello, New York Times
"Empyrean Atlas offers bright, peppy Afrobeat jump-up...[they] have strayed a long way from their classical chamber-music roots, and are better and bolder for their ventures." Steve Smith, The Log Journal
“The four movements of David Crowell’s Music for Percussion Quartet range from energetic flourishes and layered rhythms to sustained halos of sound. Patterns change organically as the instruments - including guitar, played by the composer - interact with seamless animation or stillness.” Donald Rosenberg, Gramophone (reviewing Sandbox Percussion’s album And That One Too)
"At eighteen minutes, Poly Rush might seem more EP-length teaser than full-length argument on behalf of Empyrean Atlas, yet what a teaser it is...I can't recall another outfit whose polyrhythms lock quite so tightly together as do Empyrean Atlas's...Brief it might be, but a track like “Echolocation,” for example, is very much capable of inducing an entranced swoon the moment that dazzling interplay appears." Textura
“Crowell focuses his integrity most upon what what he can shape most effectively, where his ear goes, where the sound goes, on how he develops a sonic community. In tune with that, like Miles Davis or Steve Lacy, he’s openly generous in acknowledging his sources, and from this intersection he searches for something new, unique to his auditory & imaginative position. David Crowell deserves a lot of respect for trusting his own path and for really doing something with it. His music, and its evolving musical language, is worth following and listening forward to.” Patrick Brennan, Arteidolia, full article here.
“The most complex work on the program was the other world premiere, Verses for a Liminal Space by David Crowell, a musician-in-residence at Dumbarton Oaks…With two musicians seated at drum kits and the other two on vibraphones, the piece pulled the ear in multiple disorienting directions with polyrhythms in overlapping patterns.
As instruments dropped in and out, some of the players moved about, jangling ankle bells or rattling shells, sounds that added a shamanic element to the work. What was initially like a mellow rumble of chaotic chatter grew into chaotic tumults, which receded to more serene passages. The clangor of the vibraphones especially, allowed to ring with the pedal, created organ-like sonorities that vibrated through the brain long after the piece ended.” Charles T. Downey, Washington Classical Review (reviewing Sandbox Percussion’s world premiere of Verses for a Liminal Space)
“…writing for this new outfit (Empyrean Atlas) combines Minimalist drive and Afropop shimmer – a bright infectious mix.” TimeOut NY
“David Crowell’s alluring, vibrant ‘Open Road’ evoked expansive vistas. After a stately opening and sparse textures, the music morphed into an energetic canvas with a fast Minimalist pulse.” Vivian Schweitzer, New York Times
“The concert ended with David Crowell’s cinematographic and Minimalist ‘Open Road,’ an inspired work that evoked Mr. Crowell’s frequent road trips out West.” Vivian Schweitzer, New York Times
“The shining star of the album are tracks 2 through 5; David Crowell’s Music for Percussion Quartet…The piece is as joyful as it is evocative. Crowell’s use of form is masterful, and every moment of the music captivates the listener. It is a well-balanced, overwhelmingly lovely piece of music.” Olivia Kieffer, Earrelevant (reviewing Sandbox Percussion’s album And That One Too)
“David Crowell’s ‘Waiting in the Rain For Snow’ is notable for its crystalline sonic beauty.” David Weininger, Boston Globe (reviewing Now Ensemble’s album Awake)
“…a hymnal to a hidden process, the sense of transformation etched and sculpted by intricate, repeated figures in guitar and piano overlaid and compounded by shifting, drifting patterns in woodwinds.” Classical Review (reviewing Waiting in the Rain For Snow on Now Ensemble’s album Awake)
“Crowell’s use of layering encompasses the cannily composed with just the right taste of aleatory to allow for a bit of improvisational sounding organicism to zestily season a distinctive sound world…a lovely and warm aural bath (Eucalyptus)…the piece’s (Throw Down Your Heart) busily coruscating mallet-played melodies remind one of an entire shop of banjos and mbiras (thumb pianos) being played all at once.” Christian Carey, Sequenza21
“…Crowell’s singular vision transcends genre; no amount of hyphens can pin him down…” Exclaim
Philip Glass Ensemble performing Music in 12 Parts at the Park Avenue Armory, New York City; Philip Glass Ensemble w/ Steve Reich performing Music in Similar Motion at Brooklyn Academy of Music; Bang on a Can All Stars performing Hoketus by Louis Andriessen at the Bang on a Can Marathon, New York City; Empyrean Atlas at Baby’s All Right, Brooklyn; Performing Music for Percussion Quartet with Sandbox Percussion at National Sawdust; Empyrean Atlas at Subculture, New York City