[contextly_auto_sidebar id=”ZGwnHJsnneOmHn0B3TvMCbZvbXJphhzg”] Vijay Iyer, Break Stuff (ECM) It would be safe to say that the pianist Vijay Iyer is the only jazz musician who constructs his music on the Fibonacci sequence of numbers introduced by the Medieval Italian mathematician. Safe that is, if Iyer didn\u00e2\u20ac\u2122t credit saxophonist Steve Coleman with giving him the idea years […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-6405","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6405"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6405\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Iyer](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/02\/Iyer-Break-STuff.jpg\")
<\/a>It would be safe to say that the pianist Vijay Iyer is the only jazz musician who constructs his music on the Fibonacci sequence of numbers introduced by the Medieval Italian mathematician. Safe that is, if Iyer didn\u00e2\u20ac\u2122t credit saxophonist Steve Coleman with giving him the idea years ago. Maybe Coleman got it from Bart\u00c3\u00b3k (e.g., \u00e2\u20ac\u0153Music For Strings, Percussion and Celesta\u00e2\u20ac\u009d). Whether Iyer\u00e2\u20ac\u2122s ascendency in jazz can be credited to his mathematical expertise and intellectual romance with numbers is beside the point. What![\"Vijay](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/02\/Vijay-Iyer-head.jpg\")
<\/a> counts is the effectiveness of the music. On some of the pieces here, Iyer, bassist Stephan Crump and drummer Marcus Gilmore avoid the boredom of repetition by overlaying sheer lyricism. In Thelonious Monk\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Work,\u00e2\u20ac\u009d Coltrane\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Countdown,\u00e2\u20ac\u009d Iyer\u00e2\u20ac\u2122s own \u00e2\u20ac\u0153Wrens\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Break Stuff,\u00e2\u20ac\u009d and his langorous unaccompanied solo on Billy Strayhorn\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Blood Count,\u00e2\u20ac\u009d boredom is unlikely. <\/p>\n","protected":false},"excerpt":{"rendered":"