Seam Imboden: Discovering New Elements in Jazz Improvisation and Big Band Creations

 

Indianapolis-based saxophonist, composer and bandleader Sean Imboden cultivates a modern jazz, big band atmosphere that brings new elements into the platform.  He directs the Sean Imboden Large Ensemble (SILE), a 17-piece group that reimagines traditional big band scores and ventures into creating original material through enthralling improvisations and dynamic interplay.

"We have many great musicians in Indianapolis, so I have a large pool to draw from," he cites, describing, "I look for people I know will play the parts well, and can blend well with their bandmates." 

"Everyone in the band has a good amount of experience with playing in big bands and other ensembles," he determines, "so when they get together for my gigs, they know how to dial it in. Another important quality is for each musician to be willing to prepare their individual part before the rehearsal. Then, when we get together to play, we can focus on details and bring out the musicality."

SILE released their debut recording Communal Heart in 2025, following up with their 2026 offering Uncharted Realms.  Discussing how he came up with the album title, Imboden recounts, "I was putting together different words and themes that I thought described the music well.  For this album, themes that stood out to me were the ideas of exploration, searching, and taking chances.  Many times when I'm writing music, I'm actively trying, or at least hoping, I can unearth new ideas, new ways of expressing myself, and discover new elements of my creativity.  The title Uncharted Realms fit well with these thoughts."

Creative insertions and melodic motifs are plentiful, noticeable in the arrangement for "When You Look Beyond," which develops from a leisurely stroll to an intense, bold, big band sound.  "For that piece," he explains, "I had the basic melody and chord progression already written, before I decided to turn it into a big band arrangement.  When I started writing the arrangement, I wasn't sure where it was going to go, so I tried to come up with the intro first.  For that, I used the end of the melody, and moved it through a few different keys, layering the woodwinds, brass, and rhythm section together gradually."

"After you hear the melody a couple of times," he ascertains, "the piece felt like it wanted to go somewhere else, so I just followed what I was hearing, which turned into a 5/4 rock groove - and what better for that section than a distorted guitar solo. Then we return to the original chord progression for the tenor solo, and the band joins in to end the piece."

The track "Follow the Kite" makes a turn in contrast, voyaging into an easy-going melody.  He endorses, "I like exploring the different textures we have at our disposal in the big band setting. You can create a really pretty, floating, peaceful sound when you combine flute, soprano, flugelhorn, and brushes on the drums. I think this track contrasts nicely with some of the heavier moments on the album, and helps give the project a sense of balance. Once I've chosen which pieces we'll record for an album, I try to have variety within the soloists, and I liked having a piano solo for this track."

Fluctuating from bold, big band blazes to tranquil swells is a feature of Imboden's nature, which audiences can hear in the original composition "Gentle Giant," a track that can be argued is a self-portrait of Sean Imboden.  He admits, "I don't know if I see myself as the Gentle Giant, but a friend of mine likes to call me that.  I'm tall and soft-spoken, and I thought it was a good title for a tune. I think it's a good title because this piece starts off with a bombastic overture, then transitions to a more introspective section."

Looking back at the recording process, he recollects, "We had a couple of rehearsals and a few gigs in the months leading up to the recording session. One thing I've learned as a bandleader is the importance of getting the music to the band as early as possible, to let it marinate in their minds for a while. Then, getting them to play it together as a group as often as we can really helps the music solidify. To continue to fine tune details, individual sections will sometimes have sectionals - the five saxophonists, for example."

"For the recording," he condones, "I try to keep it concise: two days in the studio, with two takes on each tune, and only necessary overdubbing or fixes." 

The front cover of Uncharted Realms features a painting by the artist Kara Tucker of a bluebird in a wintry landscape.  He reveals how he chose the drawing, proclaiming, "I'm lucky to be able to work with Kara.  I just send her our music and she comes up with ideas for the cover.  She'll usually send me a few to choose from, and this one really stuck out to me.  I like the idea that the bird is resting peacefully for a moment, but I can take off at any time, and fly somewhere it's never been before. The bird symbolises possibility, hope, and the chance for a new beginning."

Elaborating further about his exploration into new musical possibilities and creative adventures, he discerns, "I think the more I write music and orchestrate ideas for the band, the more effective and clear my music becomes. I value the ability to sit within one style or mood for an extended period of time, and then allow the music to develop in a natural way. I feel as though each piece on this new album does that really well."  

"With this album," he asserts, "I challenged myself to do some things from a compositional perspective that I hadn't attempted before, and I'm really happy with the results. For example, writing sections for horns and no drums, writing rock-influenced and tango-inspired sections, and being open in general to let the music go anywhere."
 
He propounds, "I continue to write music for various settings, and am currently working on music for string quartet and saxophone. I get excited about the challenges and possibilities with writing for different ensembles, and like to push myself to try this whenever I can."

A part of his inspiration to explore and challenge himself can be traced back to his work with students at Butler University and Ball State University.  He reflects on how his pedagogical endeavors have helped him as a composer and leader.  "I love spending time with young adults and music students," he vows.  "They inspire me, and challenge me to be a better musician, teacher, and artist. I like how open their minds are, and how willing they are to try things. Interacting with the different personalities and budding talents is a special experience."

Taking a quote from Imboden's online biography, he assures,“I never want the band to stay in its comfort zone, or in traditional jazz waters... I always aspire to break new ground, leaving the music open to all of the influences I've taken in. I let the music go wherever it wants to go, following that direction through all of its twists and turns, holding on and enjoying the ride.”

Sean Imboden holds a Bachelor of Music in Jazz Studies from the Jacobs School of Music at Indiana University, where he studied with Tom Walsh and David Baker.  He additionally earned a Master of Arts in Jazz Studies from the Aaron Copland School of Music at Queens College, where his primary teachers were Antonio Hart and Michael Mossman.  His musical education is one influence that has encouraged his leaning to be open-minded with SILE.  The other influence has clearly been his life experiences, which he continues to cultivate, inviting audiences to share in his discoveries.

 

Visit Sean Imboden at:  https://www.seanimboden.com/full-bio