MARCH 2023
Record Review
Jazz Scene Los Angeles
“Hunter Diamond…is not shy to make use of melodic development, space, and dynamics as he improvises… [The] music evolves logically and, while there are some intense moments, much of the playing is fairly relaxed and thoughtful.”
-Scott Yanow
September 2022
preview
Chicago Reader
Hunter Diamond/Mike Reed duo at the Hyde Park Jazz Festival
“…and the drums-and-reeds duo of Mike Reed and Hunter Diamond exemplify the city’s robust avant-garde community.”
-Bill Meyer
March 2022
review
The Wire
Hunter diamond + Mike Reed “Nilia” in the Wire (UK)
“Reeds-drums duos often result in fire music, but this one has the confidence to cook at a lower heat. “
-Bill Meyer
February 2022
review
Dusted Magazine
Hunter Diamond + Charles Rumback “We Stand” in Dusted magazine
“…a self-assessment and a statement of identity…an exposed, no-net setting for any improvisor, and the first thing that We Stand shows is that Diamond knows how to pick ‘em.”
-Bill Meyer
February 2022
Review
Jazz Word
Hunter Diamond + Mike Reed “Nilia” reviewed in Jazzword.
“...narrative twists and turns, end[ing] with a clarion story-telling sequence which sums up, clarifies and affirms the ongoing collaboration.”
-Ken Waxman
October 2021 feature by the Jazz Institute of Chicago
July 2021
“Reflective Nostalgia” + Curio records feature
Chicago Reader
February 2020
Interview
Announcing Metal and Wood: a live recording residency featuring improvising duos
Each Wednesday in March, I will be recording live duo concerts with four of Chicago’s greatest improvising drummers. I was recently interviewed by Sammi Skolmoski from the Luminarts Cultural Foundation about the residency. You can find the published version here, and below you will find the unedited version:
SS: Is there a particular drum and sax duo or recording that spurred this three-year investigation?
HD: The first saxophone/drum duo recording I heard (long before my specific interest in this instrumentation) was John Coltrane's "Interstellar Space" featuring drummer Rashied Ali. The scope, power, intensity, and overwhelming beauty of that recording makes it one that you are not soon to forget after listening even once. It taught me about the beauty of powerful, loud, intense music. They were taking a cosmic approach to making music, and you can hear it on the record, along with many other recordings that Coltrane made during the period between 1964 and his death in 1967.
SS: Has your research only taken the form of in-person experimentation with drummers, or has there been a material component (texts, video, archives of any sort) to your research as well?
HD: Playing in this context is one of the elements of my learning that allows for the most personal growth. The ultimate goal of this investigation is to reveal more of my identity as an improvisor and artist by stripping down the instrumentation and inviting variations of style, aesthetic, and personality as my partners rotate in and out. But, listening to the records is the next most important part of the process. Being aware of the ways that this has been done before, and being receptive to that influence as I'm developing my own way is crucial to my ability to build and test my own approach. I have a number of saxophone/drum duo LPs in my collection, and I have gone through various phases of deep listening. Some of these include:
"Duo Exchange"(1972) by Rashied Ali and Frank Lowe
"Interstellar Space" (1974) by John Coltrane and Rashied Ali
"Force"(1976) by Max Roach and Archie Shepp
"Birth and Rebirth"(1978) by Anthony Braxton and Max Roach
"Red and Black"(1985) by Dewey Redman and Ed Blackwell
"Which Way Is East"(2004) by Charles Lloyd and Billy Higgins
"Lightning Over Water"(2013) by Ken Vandermark and Pal Nilssen-Love
"In Pursuit of Magic"(2013) by Roscoe Mitchell and Mike Reed
"Proximity" (2016) by Andrew Cyrille and Bill McHenry
"Keep Going"(2018) by Joe McPhee and Hamid Drake
There are many others, many of which I have yet to hear - these are just the ones that I own and know well.
SS: Can you tell me a little more about what you envision for Metal and Wood? (specifically what format you'd like to release it, when you will release it, what sort of imagery it conjures)
HD: When I was thinking of a name for the series, I asked myself what my goals were. Similarly to what I said before about stripping down the instrumentation, I started to think about the essentials. Conceptually, I'm thinking about melody and rhythm. I can imply harmony through what I play, and together we can create endless textures, but the music I aim to make here focusses primarily on melody and rhythm. So while thinking about these primary sonic elements, I began to think about how few physical elements are needed to construct a saxophone and a drum set. It comes down to two essentials: metal and wood. I intend to explore the roots of my understanding of music and sound during this residency, so it feels appropriate to have a name that reflects that intention.
Considering the amount of raw recorded material I will have by the end of month, in addition to the archive of recorded duo material I already have, it will be difficult to release this music as a singe statement. I imagine that it will be released as a series, maybe spread out over time or all at once. Ideally it would be released on vinyl, but that requires special funding which I have yet to secure. I haven't thought about the final product more than that - right now I am focused on preparing my mind and heart to play openly and honestly throughout the month.
SS: Lastly, can you tell us about how your fellowship with Luminarts has affected your practice?
HD: My relationship with Luminarts is an interesting one. In many ways it reflects the age old practice of 18th century patronage during the enlightenment. With the support of Joseph II, Mozart wrote some of his most well known work (Don Giovanni, Figaro, Magic Flute), and there is something to be said about works created with the systematic support of a powerful organization. I am grateful to have the support of the Luminarts organization because it allows me to present and pursue experiences that I would not be able to otherwise. After being a fellow for a several years, I now feel that Jason (Executive Director, and my primary contact) actually understands some of what I am trying to do with my work and is fully on board to support me. That is a rare occurrence, and I am thankful for it.
conducted via email on February 4th, 2020.
February 2020
INTErview
Last night I was the guest DJ on the QC radio show on Lumpen Radio, hosted by Chicago DJ King Hippo. I had a great time sharing some favorite recordings from my current listening rotation. Below is a list of the music I brought in, and an interview with King Hippo in which we talk about my current projects and my motivations for choosing the records I brought in.
September 2019
A preview in the Chicago Reader for this month’s Residency at The Whistler.
Photograph: Mikel Patrick Avery
AUGUST 2019
Interview
Here’s a recent interview I did with Dave Roth at Esthetic Lens. You can read about some of my experiences at the Atlantic Center for the Arts working with Nicole Mitchell, and hear about some new projects coming up next month!
https://www.estheticlens.com/2019/08/16/5-questions-musician-hunter-diamond/
Friday, March 28th, 2019
Residency Acceptance
I am thrilled to announce thatI have been accepted as a visiting artist at the Atlantic Center for the Arts. Thanks to a generous grant from the Luminarts Cultural Foundation, I will be studying composition with master composer/improvisor/teacher Nicole Mitchell for three weeks.
As the former president of the Chicago organization AACM (Association for the Advancement of Creative Musicians), Nicole Mitchell has been an incredible influence on the progression of pan-genre creative composition and improvisation for decades. I am very excited for this opportunity, and upon returning to Chicago I will debut a selection of new works during a month-long performance residency at The Whistler in Logan Square.
October 2018
Concert Review
Performing Mike Reed’s “The City was Yellow: The Chicago Suite” was a truly incredible experience. The Logan Arts Center is a beautiful performance space, and the crowd was attentive and invested throughout the entire show. To read more about the concert and other highlights from the 2018 Hyde Park Jazz Festival, check out Howard Reich’s review in the Chicago Tribune.
MARCH 2017
Luminarts Jazz Fellowship
I am happy to announce that I have been awarded a Fellowship through the Luminarts Cultural Foundation in Chicago. After a preliminary audition round of over one hundred applicants, I was selected to play alongside seven other musicians for a panel of judges, including the great Willie Pickens. Luminarts does a phenomenal job of supporting Chicago artists of all concentrations, and I am very excited to be able to mobilize my larger projects with their support.
December 2016
Concert REview
Following the tradition of the last three holiday seasons, Chicago trumpeter Quentin Coaxum put together a spirited recreation of Vince Guaraldi's compositions. The performance took place at the beautiful Fulton Street Collective loft space, and was reviewed by Downbeat Magazine's Izzy Yellen. See full article on the Downbeat Magazine website.
