Kebra-Seyoun Charles
US soloist and composer
The child of an African dancer and drummer, jazz singer and church chorister, 26-year-old US bassist and composer Kebra-Seyoun Charles tells me their first introduction to music was ‘being dragged’ to all of their mother’s rehearsals.‘My understanding of music was formed around my experiences as a Black person in America.’ But going into classical music ‘never felt like a shift in mindset. I see it as Bach led to jazz, which led to pop. Or African drum and dance led to Monteverdi’s syncopations.’ This all-encompassing perspective, as well as an unflinching work ethic, has propelled Charles into a successful solo and chamber career, including performing with the Sphinx Virtuosi and East CoastChamber Orchestra, among other engagements.
Originally from Miami, Florida, Charles began playing the double bass at the age of twelve. In 2013, at only 15, they attended the Aspen Music Festival and School, having the chance to play in a professional orchestra as part of the scheme. ‘By observing the work ethic of some amazing musicians, I realised what was needed to be successful.’
From 2016 onwards, Charles studied with Todd Seeber and Lawrence Wolfe at the New England Conservatory in Boston and began formal composition lessons. ‘I’d been thinking about composition since I was a child, so it was just a matter of putting it in Western notation.’ Charles defines their multigenre compositional style as ‘counter-classical’, explaining: ‘By “counter” I mean both contrapuntal and countercultural. I use classical traditions that I find beautiful, while leaving out the things I find harmful – mostly cultural. I take things that I think are cool and mix them with the things I wish classical music had, such as cultural relevance and an openness to other styles and people of other cultures.’
Charles relocated to New York City – where they are still based – in 2020 to begin a master’s degree with Joseph Conyers at the Juilliard School. ‘He’s got the ultimate “grind-set”,’ says Charles about Conyers. ‘As well as being a top orchestral bassist, he’s a really cool guy, does non-profit work, and [like Charles] does bodybuilding! Joe is a barometer of what’s possible.’
‘For too long, bassists have been thought of as less musical, but it’s because we weren’t challenged’ – Kebra-Seyoun Charles
No stranger to competition success, in 2022 Charles won the coveted top award (the Robert Frederick Smith Prize) in the Sphinx Competition senior division, adding to earlier wins at the Boston Philharmonic Youth Orchestra concerto competition (2017 and 2019) and NAACP’s ACT-SO concerto competition (2016). ‘Sphinx legitimised my playing. But external validation isn’t a true judge of your ability or dedication. I learnt not to internalise either wins or losses – just to keep working.’
Versatility defines Charles’s approach, but do they see it as a necessity for all musicians in this changing industry? ‘Just as biodiversity is an indicator of a healthy ecosystem, I think we need lots of approaches. As long as you present yourself convincingly, I don’t see any reason why you can’t do anything you want, whether you’re being versatile or not.’
As for any sense of duty they may feel towards the world of the double bass, Charles says: ‘I think my duties are to myself and to reach my highest potential. But I also want young bassists who feel they don’t fit the mould to know that it’s OK. Just keep grinding. It’s my life’s work to make classical music more welcoming, so my approach is to convey friendliness. If you feel respected, it’s a better space in which to make art.’ This can be seen in Charles’s extensive social media reach (with well over 50,000 followers), their approachable videos documenting their career, practice and humour.
‘I see myself and my bass colleagues as updating the necessary tenets of musicianship: immaculate intonation, bow know-how, and beautiful phrasing. For too long, bassists have been thought of as less musical compared to other instrumentalists, but it’s because we weren’t challenged. I don’t believe I’m a prodigy; I just dedicate myself to the craft.I think that if I can do it, anyone can.’
INTERVIEW BY RITA FERNANDES
