A writer and editor who studied radio and film in college, Jim Kennedy was introduced at an early age to music of the European polyphonic tradition by his father, an avid fan of Polish pianist and composer Frederic Chopin.

Like most young people of his generation, Jim also availed himself of the art and power rock music popular with his fellow high school and college students. A chance introduction to college radio in his freshman year would reveal a musical smorgasbord. Jim would take second helpings from not only obscure rock and jazz musicians of the mid to late 20th century, but also works in the modern polyphonic composition tradition, most notably minimalists like fellow Baltimore native Phillip Glass, the sound experiments of John Cage, and the curios melding of traditions undertaken by Bela Bartok.

Jim’s understanding of music and music history may be strong, but his musical abilities are severely limited. As such he has long been interested in working with talented musicians, lending his language skills when possible to attracting new fans to a greater appreciation of the vast expanse of music available to anyone willing to listen beyond the commercialized cacophony emanating from an array of mediocre sources.