DCist Interview: Miri Ben-Ari
She performed under the tutelage of virtuoso Isaac Stern, was mentored on the jazz circuit by Betty Carter, and won a Grammy with Kanye West for "Jesus Walks." Not to mention she has four albums under he own name. And that's only part of Miri Ben-Ari's résumé. The "Hip-Hop Violinist"/composer/arranger has created a unique space for herself in the music business where she's managed to meld her wide array of experiences into what she describes as soulful hip-hop and R&B. Along the way, the Israeli artist has also become an activist through her Gedenk Movement organization, which helps educate young people about the Holocaust.
Ben-Ari will serve as the closing act for the Washington Jewish Music Festival tonight and recently spoke to DCist about her experiences as a musician.
How did you get started playing the violin?
I was trained classically in Israel, which is a great place to study classical music. It's in the European tradition. At the time, Isaac Stern had a group in Jerusalem of gifted young musicians who he personally invested in. It was very unique. Having classical technique to that degree definitely gave me the foundation to be the artist I am today.
How did the classical training influence what you do today?
The ability to read, write, and arrange music is something you always use. Every time I do an arrangement for popular music, I utilize my classical training. I got to see the world through classical music and learned that it (classical music) wasn't what I wanted to do.
The stylistic difference between what you're known for doing now is drastically different from how you started. How did you make the transition?
I came to the States to study jazz. Jazz gave me the foundation to improvise and from there compose my original music. My name is the "Hip-Hop Violinist" but really I write soulful music-- hip-hop and R&B. Many times people don't understand how I can play hip-hop. I'm an improviser. I've played with some of the best jazz musicians in the world. Wynton Marsallis is on my last album. Betty Carter introduced me to the jazz scene.
When did you begin moving into the realm you now occupy and have become known for?
I lost my scholarship and that was the end of school. I was on my own completely. I kept performing. I had stage presence and I was very pushy but in a friendly way. I used to get on stage with other people even if it wasn't my gig and just bring the violin along and started playing with them. I used to go to open mics. In the meantime, my jazz career was taking off. I was recording. I was selling out the Blue Note. I learned that even though I playing jazz, I was writing soul music. I was writing for the drummer's and bassist's parts. That's unheard of in jazz music but that's how I wanted it. I was influenced by a lot of R&B music I heard on the radio or open jams. An industry person introduced me to Wyclef Jean.
At another open mic, someone asked me to play and there wasn't a band, just a DJ. I asked the DJ to start flipping records and told him I could improvise over them. People started getting loud. I thought a riot had started. I realized that they were screaming for me. One of the people in the audience was the producer of The Apollo. This is when everything started happening for me. BET's "106 & Park" saw me at The Apollo and booked me. I got the most response they'd ever had. I performed at Carnegie Hall with Wyclef and he called me the "Hip-Hop Violinist." I had my title. All of this happened in about a month.
Besides Wyclef, who else have you collaborated with or have been influential in your career?
Well, Kanye is the most important one. I recorded the most with him. I won the Grammy with him. Jay-Z helped out a lot, too, and Lil' Wayne is on my album.
The idea of a violinist performing hip-hop music could be frowned upon by classical or hip-hop traditionalists. Have you ever caught grief from either camp?
The reason I have a career is because people love what I do. The industry didn't get me at first. When people see a good show, they don't care what it is. A good show is a good show. You either reach the audience or you don't. The hip-hop community and artists supported me more than anyone else. They love the fact that I'm from Israel. They love that I'm bringing another culture and tradition and instrument.
So off the bat, hip-hop might not seem to be a place where someone with your training would fit in, but musically, the culture is inclusive.
You have artists like John Legend, D'Angelo, and The Roots. It's a different kind of hip-hop. I belong to that soulful genre within the genre. Hip-hop is the pop music of the day. It's stretching. It's becoming everything.
Given the level of talent and individual musical stars you've been around during your career, what would you say are the traits that exist among them all?
All artists are extremely talented. The most famous are hard workers and extremely disciplined. They're drive is enormous. They'll be in the studio or practice until they think things are accomplished and done. They're addicted to what they do. They put so much into it. Also, they all have a story of being told "no" but persevered.
What can we expect from your performance tonight at the Festival?
My show is good for older people and young people. Also, it's good for a Jewish and non-Jewish audience. I perform in the streets of Harlem and at black tie events. It's beyond age and heritage. I'm bringing Total Eclipse of the X-Ecutioners Since it's the closing night of the festival, I'm going to spend time with the audience afterwards. It's going to be an excellent show.
Miri Ben-Ari will be performing in the Aaron & Cecile Goldman Theater at the DCJCC. $25-$30, 8 p.m.