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biography
Kyle Hutchins is an internationally acclaimed performing artist, chamber musician, improviser, and educator, hailed as “epic” (Jazz Times), "formidable" (The Saxophone Symposium), "gripping" (Star Tribune), "an impressive achievement" (VitaMN), "skilled improviser, no doubt about it" (I Care If You Listen). He has performed and been broadcast across Asia, Australia, Europe, North and South America at venues and festivals such as Carnegie Hall (NYC), Internationales Musikinstitut Darmstadt (Germany), Shanghai Conservatory of Music 上海音乐学院 (China), Muzička akademija u Zagrebu (Croatia), Koninklijk Conservatorium Antwerpen (Belgium), Janáčkova konzervatoř a Gymnázium v Ostravě (Czech Republic), St. Leonard's Chapel (Scotland), NOVA RTE Lyric.fm (Ireland), ISSTA Sonic Practice Now (Ireland), Seensound: Visual Music Series (Australia), University of British Columbia (Canada), Pontificia Universidad Católica de Chile (Chile), Solid Air Festival (France), New York City Electronic Music Festival, National Sawdust (Brooklyn), Art Share (Los Angeles), Center for New Music (San Francisco), NUNC! (Chicago), Punk Ass Classical (Minneapolis), Twin Cities New Music Festival (St. Paul), New Music Gathering (Boston), Holocene (Portland), International Jazz Conspiracy (Minneapolis), among others. He has recorded over a dozen albums for labels Carrier, Noise Pelican, Klavier, GIA, farpoint, Avid Sound, and Emeritus, and has participated in the creation of more than 200 new works. 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 is a 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. As a chamber musician, Kyle performs with ACUTE Trio, AVIDduo, The Broken Consort, Hutchins/Qiang Duo, The Poem Is Done, and Strains New Music Ensemble.
As an educator, Kyle has presented masterclasses and lectures at major institutions throughout the United States and abroad, and has been invited to present pedagogical clinics and workshops at The Midwest Clinic, ATMI, NACWPI, and numerous Music Educator Association Conferences around the country. Kyle is Artist/Teacher of Saxophone at Virginia Tech 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 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 Rousseau Music Product Performing Artist.
Kyle is a 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. As a chamber musician, Kyle performs with ACUTE Trio, AVIDduo, The Broken Consort, Hutchins/Qiang Duo, The Poem Is Done, and Strains New Music Ensemble.
As an educator, Kyle has presented masterclasses and lectures at major institutions throughout the United States and abroad, and has been invited to present pedagogical clinics and workshops at The Midwest Clinic, ATMI, NACWPI, and numerous Music Educator Association Conferences around the country. Kyle is Artist/Teacher of Saxophone at Virginia Tech 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 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 Rousseau Music Product Performing Artist.
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selected reviews
"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
January 9, 2022
"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
July 25, 2021
"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
July 9, 2021
"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
April 1, 2021
"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
November 15, 2019
"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
October 15, 2019
"Binary Canary: iterative systems (Carrier)"
"epic... alien soundscapes from some distant otherworld... enigmatic and well worth probing."
--Brad Cohan, Jazz Times
October 13, 2019
"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
October 10, 2019
"New October Releases"
"far out (in space, of mind)... something of future legend... a sonic trip."
--Tone Shift
October 4, 2019
"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
August 9, 2017
"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
October 1, 2015
"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
June 24, 2015
"AVIDduo CD Review"
"Captivating… plenty of inspiration here."
--Tammy Evans Yonce, The Flute View Magazine
May 1, 2014
"Crawl: 3Play"
"An impressive achievement, both artistically and technically."
--Jay Gabler, VitaMN
January 19, 2014
"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
January 9, 2022
"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
July 25, 2021
"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
July 9, 2021
"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
April 1, 2021
"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
November 15, 2019
"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
October 15, 2019
"Binary Canary: iterative systems (Carrier)"
"epic... alien soundscapes from some distant otherworld... enigmatic and well worth probing."
--Brad Cohan, Jazz Times
October 13, 2019
"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
October 10, 2019
"New October Releases"
"far out (in space, of mind)... something of future legend... a sonic trip."
--Tone Shift
October 4, 2019
"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
August 9, 2017
"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
October 1, 2015
"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
June 24, 2015
"AVIDduo CD Review"
"Captivating… plenty of inspiration here."
--Tammy Evans Yonce, The Flute View Magazine
May 1, 2014
"Crawl: 3Play"
"An impressive achievement, both artistically and technically."
--Jay Gabler, VitaMN
January 19, 2014
articles & interviews
"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
November 17, 2021
"The New Music Festival and a History of 113, Part 2"
"it’s more about having a space to dare to be audacious, of trying to organize the concerts and works we want to see happen, to build a community around the experimental music we love and are creating."
--Lise Spragg, 113 Composers Collective Blog
May 31, 2020
"Alumni Profile: 113 Composers Collective"
"creating a community for new music enthusiasts"
—Katie Dohman, Tutti Magazine
December 9, 2019
"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
April 2019
"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
February 20, 2019
"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
March 9, 2015
"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
November 17, 2021
"The New Music Festival and a History of 113, Part 2"
"it’s more about having a space to dare to be audacious, of trying to organize the concerts and works we want to see happen, to build a community around the experimental music we love and are creating."
--Lise Spragg, 113 Composers Collective Blog
May 31, 2020
"Alumni Profile: 113 Composers Collective"
"creating a community for new music enthusiasts"
—Katie Dohman, Tutti Magazine
December 9, 2019
"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
April 2019
"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
February 20, 2019
"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
March 9, 2015
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