matt mitchell


Matt Mitchell solo projects: instruments, recording, edit/mix/assembly.

Matt was born on July 19, 1975 and his interest in music quickly became apparent. As a toddler, Matt would sit down with a Fisher Price record player and a stack of vinyl LPs and memorize lyrics, track times, musicians and other trivia about his parents' albums: The Beatles, Stevie Wonder, Jimi Hendrix and others. Matt began playing piano at the age of 6, with composing beginning at age 10. As his appetite and aptitude for music grew, so did his involvement, and by age 13 came the knowledge that music would be his life.

Following high school, Matt attended music schools for five years, spending three years at Indiana University and two at the Eastman School of Music, culminating in a Master's degree. During his school years, Matt played a wide variety of music in a wide variety of contexts, including experiences with rock, fusion, hip-hop, salsa, Brazilian, and polka bands, as well as the 'usual' assortment of jazz and classical experiences. Notable teachers from this time period include David Baker, Luke Gillespie, Michael Cain, and Elizabeth DiFelice.

In the jazz realm, Matt has performed and/or recorded with Ralph Alessi, Wes Anderson, David Baker, Jimmy Coe, Ravi Coltrane, Peter Epstein, Pookie Johnson, Ayelet Rose Gottlieb, Josh Roseman, and David Young. Since 1999 he has played with both the improvising trios Kaktus and Feigner as well as the art rock band Thinking Plague. He currently lives in Philadelphia and performs, composes, assembles, and records music that reflects his continually growing array of interests, musical and otherwise.
Matt Mitchell

Recordings were made late November 2005, and were immediately dealt with. In October 2006, the materials were dealt with further. Everything happened at home in Philadelphia.

1 tracks - 45:14

SCR 53412 (2007)


1. vapor squint, antique chromatic 45:14

This recording, Matt Mitchell's first official solo recording, is one possible answer to several simultaneously considered conundrums and notions: balancing improvisation and composition. reconciling 'musical' gestures with those that challenge such notions of music. relationships between different temporal fragments and the worlds upon which they impinge. potential compatibility of disparate types of sonic material. relationships between the 'organic' and 'inorganic' within form. finding something existing seemingly of its own accord. and moreover, how to accomplish this alone?