Hailed as “epic” (Jazz Times), "formidable" (The Saxophone Symposium), and "gripping" (Star Tribune), Kyle Hutchins is an internationally acclaimed saxophonist, improviser, and educator. He has appeared across five continents at major festival and venues in Australia, Belgium, Canada, Chile, China, Croatia, the Czech Republic, England, France, Germany, Ireland, Mexico, Scotland, South Korea, and across the United States including Carnegie Hall, National Sawdust, The Walker Art Center, World Saxophone Congress, Internationales Musikinstitut Darmstadt, International Computer Music Conference, among many others. He has recorded over two dozen albums on labels Carrier, Klavier, GIA, farpoint, Noise Pelican, Mother Brain, Extempore, Avid Sound, and Emeritus, and his work has been recognized by awards and grants from DOWNBEAT, New Music USA, American Protégé International Competition, Music Teachers National Association, Mu Phi Epsilon Foundation, and others.
Kyle has presented hundreds of premiere performances of new works made in close collaboration with many emerging and established composers and sound artists. He is a founding member of 113 (One Thirteen), a collective of composers and performers of experimental new music who curate concerts, educational programs, festivals, seminars, and masterclasses around the world. He is one half of Binary Canary, a woodwind-laptop improvisation duo alongside electronicist Ted Moore.
Kyle has served as Artist/Teacher of Saxophone at Virginia Tech since 2016 where he teaches classical and jazz saxophone, directs the Jazz Lab Band and New Music Ensemble, and is the Artistic Director of the Spatial Music Workshop and New Music + Technology Festival at the Institute of Creativity, Arts, and Technology.
Kyle has a Doctor of Musical Arts and Master of Music degree from the University of Minnesota, and Bachelors of Music in performance and Bachelors of Music Education degrees from the University of North Texas. His teachers include Eugene Rousseau, Eric Nestler, Marcus Weiss, and James Dillon.
Kyle is a Yamaha, Légère, and E. Rousseau Mouthpiece Performing Artist.
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Press, Reviews, & Interviews
"Binary Canary: iterative systems (Carrier)"
"epic... alien soundscapes from some distant otherworld... enigmatic and well worth probing."
--Brad Cohan, Jazz Times
"Twin Cities New Music Festival Gives A Nod to Challenging and Calming Works"
"Kagel's music proved gripping in the interpretation of harpist Amy Nam and multisaxophonist Jeffery Kyle Hutchins."
--Rob Hubbard, Star Tribune
"Images: American Sonatas Review"
"From the outset one is struck by Hutchins’s formidable technique. His driving, direct approach to the music is supported by extremely clear, rapid-fire articulation; precise rhythm and finger technique; and largely excellent intonation. He handles the altissimo effortlessly and has an enviable uniformity of tone."
--James Kalyn, The Saxophone Symposium
"Album Review: Kyle Hutchins and Seth Andrew Davis- Coaxial"
"Hutchins builds on the lineage of saxophone innovators including Pharoah Sanders, Evan Parker and Roscoe Mitchell."
--Bill Brownlee, Plastic Sax
"Three Important New Titles From The Carrier Label"
"part of electroacoustic improv’s well-hewn dynasty... Moore and Hutchins demonstrate great facility in wrenching some semblance of 'order' out of chaos... much aural pleasure can be had."
--Darren Bergstein, Downtown Music Gallery
"New October Releases"
"far out (in space, of mind)... something of future legend... a sonic trip."
--Tone Shift
"Evan Smith: The Range of the Saxophonist"
"good version of the last movement of the Feld sonata by Jeffery Kyle Hutchins"
--Omar Willey, Seattle Star
"Crawl: 3Play"
"An impressive achievement, both artistically and technically."
--Jay Gabler, VitaMN
"Binary Canary and Guest Improvisers on bc+1"
"Skilled improvisers, no doubt about it… That bc+1 could make room for so much sound, so much chaos, all arising in the moment of improvisation, and yet also yield such vivid contradictions and concordances is its biggest success."
--Colin Holter, I Care If You Listen
"Developing A Pedagogical Model for Twentieth Century Flute Repertoire"
"Hutchins also assigns listening and runs group discussions for his students, again emphasizing the importance of sharing his insights and thoughts about the music with students."
--Anne Marie Dearth Maker, doctoral dissertation
"Impressions of Quartet Volume 1 by Seth Andrew Davis, Kyle Hutchins, Aaron Osborne, and Evan Verploegh"
"Quartet Vol. I is a joy to listen to, for any fan of experimental jazz, noise, industrial, or even sludge. It surrounds and envelopes you, and brings you into its word where the instruments speak. All playing is impressive, expressive, and immersive."
--Audrey, Issues Magazine
"Album Review: Seth Andrew Davis, Kyle Hutchins, Aaron Osborne, And Evan Verploegh - Quartet, Vol. 1"
"Jazz-oriented listeners are likely to gravitate to the contributions of Hutchins. His Dolphy-esque playing provides an analog counterpoint to industrial grating on “Of Other Mirrors,” the glitchy futurism of “Under a Strange Legend” and the somber malevolence of “So Many Stars Take Care of Me.” Viva la revolución!"
--Bill Brownlee, Plastic Sax
"Weirder Than Your Average Bear"
"I think regardless of what your level is, or what you play, or what your major is, everybody is entitled to go through an artistic experience. And I think that can enrich your life."
--Justin Anthony Spenner, Is This Music?!?! Podcast
"Concert Review: Kyle Hutchins, Aaron Osborne, Seth Davis and Evan Verploegh at Charlotte Street Foundation"
"two sets of sinister improvised music"
--Bill Brownlee, Plastic Sax
"The Broken Saxophone: Exploring problems and solutions in contemporary saxophone techniques through Alex Mincek's 'Ali'"
"Hutchins also reinforces the importance of breaking up each phrase, taking the passages slowly, and rehearsing the piece with normal fingerings."
--Jacob Thiede, doctoral paper
"Impressions of Banana Split by Binary Canary & Corder/Hamilton/Weeks"
"The musicians are undoubtedly brave and surely are having a good time. There are some truly sublime moments."
--Hel Martinez, Issues Magazine
"This is Maximalist: The Cube @ Virginia Tech"
“I wanted to really use this room in a way that perhaps has never been done before.”
--Alexander Pestopoulos, Engineers' Forum
"An Analysis of Overtone Production Techniques in Saxophone Teaching Methods"
"spend time going through those motions and develop those muscles in your face, it's like going to 'face gym.'"
--Emily J. Loboda, doctoral dissertation
"Binary Canary 'iterative systems' (Carrier Records, 2019)"
"Kyle Hutchins' saxophone is a link between acoustics and electronics, masterfully developed and organically created. A talented, experienced improviser using his own playing style and expressive mood... really interesting to listen to this album."
--Avant Scena
"Graded On A Curve: New In Stores for October 2019, Part Two"
"a decidedly avant-garde excursion... fans of “classic” European and newer electroacoustic improv should take note. A-"
--Joseph Neff, The Vinyl District
"Alumni Profile: 113 Composers Collective"
"creating a community for new music enthusiasts"
--Katie Dohman, Tutti Magazine
"Twin Cities' 113 Composers Collective creates opportunities for experimental music makers"
"there exists an expansive community of tried and true experimentalists who are working every day to challenge and redefine what it means to compose and perform classical music."
--Garrett Tiedemann, Classical MPR
"Cassette Review: Binary Canary 'click/blow'"
"a full on noise-jazz symphony... there really is no good reason for not having this in your collection and coming out of your speakers regularly."
--Joshua Macala, Raised by Gypsies
"AVIDduo CD Review"
"Captivating… plenty of inspiration here."
--Tammy Evans Yonce, The Flute View Magazine
"Zusammenfluss in Minnesota"
"Hutchins' March 6 program entitled 'Sonder' which stands apart in memory as one of the most technically challenging saxophone recitals I have ever witnessed... 'Sonder' was a brazen display of virtuosity and endurance spanning nearly two hours of music and spoken text. It was impeccably prepared and conceptually unified."
--Jeremy Wagner, blog
"epic... alien soundscapes from some distant otherworld... enigmatic and well worth probing."
--Brad Cohan, Jazz Times
"Twin Cities New Music Festival Gives A Nod to Challenging and Calming Works"
"Kagel's music proved gripping in the interpretation of harpist Amy Nam and multisaxophonist Jeffery Kyle Hutchins."
--Rob Hubbard, Star Tribune
"Images: American Sonatas Review"
"From the outset one is struck by Hutchins’s formidable technique. His driving, direct approach to the music is supported by extremely clear, rapid-fire articulation; precise rhythm and finger technique; and largely excellent intonation. He handles the altissimo effortlessly and has an enviable uniformity of tone."
--James Kalyn, The Saxophone Symposium
"Album Review: Kyle Hutchins and Seth Andrew Davis- Coaxial"
"Hutchins builds on the lineage of saxophone innovators including Pharoah Sanders, Evan Parker and Roscoe Mitchell."
--Bill Brownlee, Plastic Sax
"Three Important New Titles From The Carrier Label"
"part of electroacoustic improv’s well-hewn dynasty... Moore and Hutchins demonstrate great facility in wrenching some semblance of 'order' out of chaos... much aural pleasure can be had."
--Darren Bergstein, Downtown Music Gallery
"New October Releases"
"far out (in space, of mind)... something of future legend... a sonic trip."
--Tone Shift
"Evan Smith: The Range of the Saxophonist"
"good version of the last movement of the Feld sonata by Jeffery Kyle Hutchins"
--Omar Willey, Seattle Star
"Crawl: 3Play"
"An impressive achievement, both artistically and technically."
--Jay Gabler, VitaMN
"Binary Canary and Guest Improvisers on bc+1"
"Skilled improvisers, no doubt about it… That bc+1 could make room for so much sound, so much chaos, all arising in the moment of improvisation, and yet also yield such vivid contradictions and concordances is its biggest success."
--Colin Holter, I Care If You Listen
"Developing A Pedagogical Model for Twentieth Century Flute Repertoire"
"Hutchins also assigns listening and runs group discussions for his students, again emphasizing the importance of sharing his insights and thoughts about the music with students."
--Anne Marie Dearth Maker, doctoral dissertation
"Impressions of Quartet Volume 1 by Seth Andrew Davis, Kyle Hutchins, Aaron Osborne, and Evan Verploegh"
"Quartet Vol. I is a joy to listen to, for any fan of experimental jazz, noise, industrial, or even sludge. It surrounds and envelopes you, and brings you into its word where the instruments speak. All playing is impressive, expressive, and immersive."
--Audrey, Issues Magazine
"Album Review: Seth Andrew Davis, Kyle Hutchins, Aaron Osborne, And Evan Verploegh - Quartet, Vol. 1"
"Jazz-oriented listeners are likely to gravitate to the contributions of Hutchins. His Dolphy-esque playing provides an analog counterpoint to industrial grating on “Of Other Mirrors,” the glitchy futurism of “Under a Strange Legend” and the somber malevolence of “So Many Stars Take Care of Me.” Viva la revolución!"
--Bill Brownlee, Plastic Sax
"Weirder Than Your Average Bear"
"I think regardless of what your level is, or what you play, or what your major is, everybody is entitled to go through an artistic experience. And I think that can enrich your life."
--Justin Anthony Spenner, Is This Music?!?! Podcast
"Concert Review: Kyle Hutchins, Aaron Osborne, Seth Davis and Evan Verploegh at Charlotte Street Foundation"
"two sets of sinister improvised music"
--Bill Brownlee, Plastic Sax
"The Broken Saxophone: Exploring problems and solutions in contemporary saxophone techniques through Alex Mincek's 'Ali'"
"Hutchins also reinforces the importance of breaking up each phrase, taking the passages slowly, and rehearsing the piece with normal fingerings."
--Jacob Thiede, doctoral paper
"Impressions of Banana Split by Binary Canary & Corder/Hamilton/Weeks"
"The musicians are undoubtedly brave and surely are having a good time. There are some truly sublime moments."
--Hel Martinez, Issues Magazine
"This is Maximalist: The Cube @ Virginia Tech"
“I wanted to really use this room in a way that perhaps has never been done before.”
--Alexander Pestopoulos, Engineers' Forum
"An Analysis of Overtone Production Techniques in Saxophone Teaching Methods"
"spend time going through those motions and develop those muscles in your face, it's like going to 'face gym.'"
--Emily J. Loboda, doctoral dissertation
"Binary Canary 'iterative systems' (Carrier Records, 2019)"
"Kyle Hutchins' saxophone is a link between acoustics and electronics, masterfully developed and organically created. A talented, experienced improviser using his own playing style and expressive mood... really interesting to listen to this album."
--Avant Scena
"Graded On A Curve: New In Stores for October 2019, Part Two"
"a decidedly avant-garde excursion... fans of “classic” European and newer electroacoustic improv should take note. A-"
--Joseph Neff, The Vinyl District
"Alumni Profile: 113 Composers Collective"
"creating a community for new music enthusiasts"
--Katie Dohman, Tutti Magazine
"Twin Cities' 113 Composers Collective creates opportunities for experimental music makers"
"there exists an expansive community of tried and true experimentalists who are working every day to challenge and redefine what it means to compose and perform classical music."
--Garrett Tiedemann, Classical MPR
"Cassette Review: Binary Canary 'click/blow'"
"a full on noise-jazz symphony... there really is no good reason for not having this in your collection and coming out of your speakers regularly."
--Joshua Macala, Raised by Gypsies
"AVIDduo CD Review"
"Captivating… plenty of inspiration here."
--Tammy Evans Yonce, The Flute View Magazine
"Zusammenfluss in Minnesota"
"Hutchins' March 6 program entitled 'Sonder' which stands apart in memory as one of the most technically challenging saxophone recitals I have ever witnessed... 'Sonder' was a brazen display of virtuosity and endurance spanning nearly two hours of music and spoken text. It was impeccably prepared and conceptually unified."
--Jeremy Wagner, blog
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