His music has been described as “utterly spellbinding” and “evocative.” His work has been performed by the National Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra, Buffalo Philharmonic Orchestra, Colorado Ballet, the Contemporary Music Forum, and the Oklahoma City University Wind Philharmonic, just to name a few, and his name is Jerod Impichchaachaaha Tate. He is a professional composer whose innovative blend of traditional Native American and classical music is both prolific and inspirational.

Tate essentially began his career as a composer at the age of eight. That was the age in which he began piano lessons and within a few weeks of lessons he “had made the decision that [he] would be a musician, that’s just how it was going to be.” Born with a Chickasaw pianist and vocalist for a father and an Irish choreographer for a mother, Tate “had been exposed to a lot of classical music and theatre as a kid.”

After graduating from high school, Tate decided to attend Northwestern University as a piano performance major. “Towards the end of my studies at Northwestern was when I received my first commission to write music,” recalled Tate. “My mother taught dance at the University of Wyoming and was embarking on an original ballet that incorporated stories from the Indian tribes of the Northwest Plains and Rockies, and she wanted me to write the music for it.” At first Tate was apprehensive. “Sometimes you push away the things you actually want to do, perhaps because you’re not quite sure if you can do them. Nowadays musicians are compartmentalized into different categories. You’re either a musician, conductor, or composer, so I had to overcome that formalistic split between those different roles.”

Even though he had no formal experience, for the first time Tate began to compose rather than play, which ended in him writing a full-length ballet entitled Winter Moons. He even received $8,000 in commission, which is nothing compared to what an established artist receives but for a first-time composition, it wasn’t too bad. “I was very fortunate to be commissioned right away,” stated Tate, “and that really set the pace for the rest of my career. From then, on, I decided to be a commissioned composer.”

Since then, Tate has gone on to produce multiple works, all-the-while injecting a flavor of unique nationality. “This,” said Tate, “is what makes my music unique. When we think about all the great European classical composers, they are most identifiable by their specific nationality. They infused their nationality into their music which is what made them distinct. That is what I want to do—to inject my personal nationality and heritage into my music. That, I believe, is one of the most satisfying feelings I can think of—to feel unique.” This tremendous passion for music and composition has led Tate to another passion: teaching. Tate is Composer-in-Residence for the Chickasaw Summer Arts Academy. The academy is headed into its sixth year and is dedicated to helping foster arts and heritage for children and young people, specifically in the tribe, but also
throughout the community. The students are able to take two weeks to learn a myriad of disciplines including “dance, theater, literature, 2D and 3D art, film production, textile design, and music composition.”

“Over the past five years I’ve coached over 100 original compositions by the students in this academy,” Tate said, “and these kids generate unbelievable music as far as I’m concerned.” Through the academy, Tate is able to coach students through the ins and outs of composition. Each student composes a piece for a string quartet from scratch and gets to see, first-hand, their compositions come to life. At the end of the program they hire a quartet to come and record the music that the students have written. “It’s one of the best feelings in the world to look at these kids and think ‘I just know you’re going to love what you’ve written. You have no idea how proud you’re going to be when this is all finished.”

Possibly the best outcome of this summer academy is the boost in self-esteem that these students gather. “I know that when the kids come out of this they are going to come out feeling better about themselves and that a greater confidence is going to be fostered in their lives. They have a better grasp of their capabilities and I just love helping to make that happen.” And in the end everything, comes full-circle. “By teaching, I’m inspired to compose more, which in turn, makes me want to go back and teach.”

As fulfilling as composing, teaching, and performing might be, there is one aspect that Tate’s profession provides that is more rewarding than them all, and that is the relationships that he forms with others. “To me music and composing is about relationships. Whenever I talk about music I’m building connections with people. Performing music is all about relationships because music is very personal to people. When you listen to an artist you form a relationship with that artist whether you meet them or not. This relationship is very important because they are making you feel a way that you need to feel. I love being the person that creates that.” Indeed, it seems as if Tate has grasped that which alludes so many, which is a true sense of fulfillment, evidenced by a simple profession: “I love music; I love people; therefore, I’m a composer—in what better way could you experience both?”

By Josh Forrester