Page 64 - ASMF Marriner 100 Coverage Book

Vince Mendoza | Photo: Pamela Fong

Classical music is obviously a part of what you work with, musically, but I haven’t
heard much of your work in that mode, as such. Is this an area you would like to
move into more often?

Although most of my music has a connection to jazz rhythms and improvisation, my
background as a composer always included the “classical” canon. Moving around in
both worlds has always been of interest to me, and of course I am happy to explore it
more given the chance.

Which composers have touched you and affected your musical voice, from the
classical/Modernist realm?

Igor Stravinsky’s music will always be part of my DNA because of the
improvisational approach to phrasing and rhythm, as well as Alban Berg, for the
lyricism and mystery.

Parenthetically — and speaking of a different “orchestra,” the Metropole Orkest
(MO) — I loved your album from last year, Olympians. Was that a particularly
satisfying project to work on, and are you inspired to work within the system of
European big bands, such as the Metropole?

Thank you. Olympians began as a COVID studio project since there were no in-person
concerts at the time. But more importantly, it is the first time a CD project of my
music with the MO was made in the 29 years of our association.