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Filipina-American Percussionist Susie Ibarra
“ Everything has rhythm, everything dances.”
Maya Angelou
Interview
by Todd Lee
9/10/07
Filipina-American composer and percussionist Susie Ibarra is an accomplished musician whose music is not easily defined. Her musical history has included becoming one of the best jazz drummers in the world; studying and playing the kulintang, a traditional multi-gong Filipino instrument somewhat similar to a marimba, and gamelan, a traditional Indonesian ensemble music; writing the music to an opera; writing and performing music that helps kids learn rhythm and music; and performing with her husband, Cuban percussionist and composer Roberto Rodriguez, in the duo Electric Kulintang, which she has described as “Filipino trance music” or “Filipino triphop”. Susie has performed with jazz artists such as John Zorn and Dave Douglas and she was nominated "Best Drummer" in the Village Voice, Downbeat, and Jazziz. Susie was recently interviewed by the Azine, on a wide range of topics – fitting for someone whose music is not easily categorized.
Azine: Your musical background and work is very eclectic. Your husband has been quoted as saying your music is not easy to define – he calls it “Susie Ibarra music”. Yet, with the diversity of your music, are there any themes or threads that run through it all?
Susie Ibarra: Thank you, Todd, for your interest in my music. I guess if I had to ask if there are any themes or threads that run through it all, I would say its all coming from a common language. A musical language that I have been slowly developing over the years from influences, interests and experiences.
Azine: I read in an interview that you have a love for improvisation – it’s what made you fall in love with jazz. When you played in the Museum of Fine Arts in Boston, I noticed that your work on the two kulintangs seemed very improvisatory. Is that how it’s played traditionally, or is that an element you added?
Susie Ibarra: Kulintang music, is an oral tradition, like jazz, and was later transcribed into cipher notation or number notation through ethnomusicology. It has a linear approach, having 8 rowed gongs, but it also has syncopation in the ensemble playing. Improvisation and embellishments on the melodies bring out the individuality of each musician. And then, when I play it, I bring probably a more modern improvisational approach to the traditional pieces.
