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Kevin Norton

Kevin Norton was born in Brooklyn and raised in Staten Island, NY. The composer/percussionist came to jazz in an unlikely setting but befriended drummer and fellow record collector Kenny Washington as a teenager. Studies at Hunter College introduced Kevin to Milt Hinton and after a short period, Kevin began to perform with Milt Hinton, eventually recording The Judge's Decision with a quartet led by Milt. Under Milt's encouragement, Kevin went back to school to get his Masters Degree from Manhattan School of Music.

After graduation he played every kind of gig available to a versatile percussionist: classical, jazz, blues, Dixieland, off-Broadway shows, rock, but especially taking part in the blossoming downtown New York City scene that strove to combine all these musics. This lead to him playing with Fred Frith's band Keep the Dog, which also included harpist Zeena Parkins and saxophonist John Zorn. Soon Mr. Norton was asked to play with a vast amount of downtown New York (sometimes called the Knitting Factory scene) ensembles. However, he longed to return to his jazz roots and began to play with downtown outsiders Phillip Johnston and Joel Forrester and their co-led band, the Microscopic Septet (and later Johnston's Big Trouble, with two CDs on Black Saint).

Still unsatisfied on a level of self-expression, Kevin began to devote himself to his own projects featuring his composition work and his improvising on total percussion (predominantly vibes and drums). Kevin has written several multi-movement pieces sometimes based on extra-musical subject matter. For Guy Debord (in nine events) is a piece for quintet and woodwind soloist (originally Anthony Braxton) based on the texts of the radical French philosopher whose thought proved central to the riots of Paris, 1968. Change Dance (Troubled Energy) draws it's inspiration from another radical political activist, Kathy Change (born Kathleen Chang). Both suites are approximately an hour in duration. On February 23, 2006 Kevin's Water and Fire Suite was premiered. It was commissioned as part of the national series of works from Meet The Composer Commissioning Music/USA, which is made possible by generous support from the National Endowment for the Arts, The Helen F. Whitaker Fund, and the Target Foundation.

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