About Kitty Brazelton 

Music is her passion since eighteen when she joined the campus acid rock band, discovered medieval plainchant, radical free jazz improvisation and the ascetic serialism of the mid‐20th‐c. classical uptown all at once.
Los Angeles Times calls her "brainy, boisterous and quintessentially downtown" while hometown Time
Out New York explains:

"Brazelton is a totalist composer, part of a generation that believes that there's more than one way to compose…she's stylistically inclusive because she simply wants to make interesting and original sounds."

It all started much earlier. At fourteen Kitty studied Tzotzil to help with father T. Berry Brazelton's neonatal research in remote mountains high above the Yucatán.  Three Mayan summers brought her to believe in universal language. Across dialect. Across culture. Across heritage.

Four years later she fell in love with the universal language of music. She's championed its power to unite ever since. If you separate musics into genres and styles—she feels—you lose an opportunity. For human understanding. Harmony. World peace even. Nothing less than. Put the story first. Tell it!

Brazelton's current opera The Art of Memory takes place in 386 ACE but its Early Christian message "now is all there is"  is one we can hear now—across doctrine, across technology, across time.

Her oratorio
ecclesiastes for male vocal quartet, cello, jazz drumkit, bells and computer soundscapes frames OT wisdom "generations come and go, but the earth endures beyond mind."

Among Brazelton's past bands is Hildegurls, four woman composers who deconstructed the music and message of 12th c. mystic Hildegard von Bingen with 21st c. technology at Lincoln Center Festival and on CD (Innova)—
"a continuum from the present back to Hildegard…artistic, spiritual, and political…entirely successful, gripping, and entertaining…excellent" (allmusicguide)

Genre-crossing CD
Love Not Love Lust Not Lust by Brazelton's nine‐piece electro‐acoustic rockestra Dadadah was called "brilliant" (New York Times) and "impressive" (Rolling Stone). Iconic John Zorn called What is it Like to Be a Bat? with Dafna Naphtali "twisted, powerful chamber rock blending a raucous punk aesthetic with vocal harmonies...complex, visionary..."

Message received?

A Doctor of Musical Arts in Composition (Columbia University), Kitty Brazelton lives in New York City's East Village while professing music at Bennington College.

“Few composers are as uninhibited in saying exactly what they want to say…a trip you’re not likely to forget.” (Gramophone UK)

Photo of KB by Ebet Roberts 2014; cousins shore dinner by KB
all rights reserved © 2014 snicim vinahel.

recordings

NYC1985  An album of songs by Kitty Brazelton and Joey Scarperia recorded in New York City, 1985; produced by Joey Scarperia, 2013. bandcamp.com
ecclesiastes: a modern oratorio  Kitty Brazelton and the Time Remaining Band. Innova Recordings 727
Hildegurls' Electric Ordo Virtutum  Kitty Brazelton, Eve Beglarian, Lisa Bielawa, Elaine Kaplinsky. Innova Recordings 712
What is it Like to Be a Bat? Kitty Brazelton, Dafna Naphtali and Danny Tunick. Tzadik 7707
Chamber Music for the Inner Ear  CRI Emergency 889/New World
Love Not Love Lust Not Lust  Kitty Brazelton and Dadadah. Challenge/BUZZ ZZ76005
Dadadah: Rise Up! Kitty Brazelton and Dadadah. Accurate Distortion 1003 
Musica Orbis: To the Listeners  Longdivity LD01. Rounder.