Arranging for the Ages: A Conversation Jonathan Ivie

Pianist and arranger Jonathan Ivie stops by to talk about his long career on and off Broadway

A few weeks ago, I got an email from Jonathan Ivie. Ivie has been a longtime subscriber to this newsletter. Once we started chatting, I new I had to have him for an interview.

Ivie, who often goes by Jivie, is career musician best known for his work as a pianist and arranger. He’s worked extensively on and off Broadway, including a stint as the band leader on the musical Rock of Ages, and has a long-time collaborative relationship with Air Supply’s Graham Russell. If you enjoy our conversation, check out his periodic newsletter, JustJivie.

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When we first spoke, you noted that you were an initially studying engineering in college before turning to music. What compelled you to take a leap like that?

Being brought up in a home of faith, I was taught that you shouldn’t squander gifts that you’ve been given. Growing up, I mastered a lot of performing arts stuff, but because I was also doing the academic stuff, I thought I owed it to myself to pursue an higher education and keep as many forks in the road open. I got about a year-and-a-half into my dual degree, and I decided to focus exclusively on music. I ended up getting a bachelor of music in piano performance. I was the first in my family to graduate from a university.

Do you come from a musical family?

My mom was my first piano teacher. After a few years, she got me into a school that taught music with the Robert Pace method. My mom was into the structure and curriculum. By the time I was 9 or 10, we were looking for more specialized teaching because I was outgrowing most other people.

By the end of high school, I was going to a college to study with an adjunct professor. That led to the right amount of scholarship money to get a four-year degree. I really had a sense of pride when I graduated because it took a lot of work.

Musician, Jonathan Ivie

I’ve always been in to both math and music. I’m curious if those skills operate in a similar part of your brain or if they feel distinct.

The Robert Pace method is all about patterns and sequences, so that’s very mathematical, or analytical. When you get to music school, you’re studying how to learn things by ear. Now, when I sit to learn a keyboard part, I mostly have it in a pass or two. My ears can pick out melodies and harmonies pretty logically. It’s kind of like learning a new language.

Do you have perfect pitch or relative pitch?

I’m not sure if I believe in those being separate. I think if you keep a guitar that is tuned, you are going to learn the sound of that guitar. I remember in high school, I wanted to master Billy Joel’s “Piano Man.” I decided to cover it it as an immersive part of our talent show. I had people setting up props and tables in our auditorium for it. Because of that, I know when you hit a Dm7 chord that you are playing the first chord in “Piano Man.” I don’t know if that’s perfect or relative pitch, but those chords have worn a deep rut in my brain.

You’ve worked both on and off Broadway as a pianist and musical director. There’s a great episode of This American Life where they talk to musicians who play on Broadway and try to understand what it’s like to play the same music night after night. What was the phenomenon like for you?

I moved to New York when I was 35. Up to then, I’d done a fair amount of theatrical work in Arizona where I lived. But when I was in my 20s, I was in a band that did a corporate event at the Waldorf Astoria in New York City. I knew within 24 hours that I had to get to New York. But I was doing well in Arizona. We would play 200 nights a year all over the southwest. I could support my family.

When I got an opportunity for a few gigs in New York City at 35, my wife and I rented an apartment for three months to give it a try. 10 days later, I nailed an audition to be the musical director for a jukebox musical featuring the hit songs of Air Supply. I had six weeks to work the arrangement and rehearse with the cast. Through that, I made a lot of connections, one of which was with the musical director for Rock of Ages. I got to sub for him one night, and it was surreal. I had once seen that show from the audience. Now, I was playing it. That was my Broadway debut. It was a little over 10 years ago.

Rock of Ages on Broadway

Was the first night on Rock of Ages stressful?

Extremely. I spent four months learning how to sub properly so that every microsecond of conducting the show would be consistent with what everyone was expecting. I made one crucial mistake that night. I had a headset to talk to each person in the band. At one point in the show, we were transitioning between two songs with very different tempos. I counted it off so loud that you could hear me halfway across the theater. I almost blew out people’s ears. I got a note that I should never count that loud. I took the note. A decade later, I still play with those guys.

Did the Air Supply show ever make it to Broadway?

It went through a staff change where the script was written to be a modern adaptation of A Midsummer Night’s Dream with the same songs. It was called Sweet Dreams: The Air Supply Musical. It’s being produced in Canada right now.

Are they still using your arrangements?

Yes! I’ve actually done a lot of work for hire for Graham Russell of Air Supply. He’s worked on a few plays. None have ever been to Broadway, but a couple had six-figure budgets.

How long were you on Rock of Ages?

I was working on it during its last year on Broadway. I’ll always be grateful that they took a chance on me. Basically, every union chair on Broadway gets five people that can sub for them. The show had been running for a few years and some of the musical director’s subs had left to tour with major artists. I asked if I could get on the sub list. About a year later, I did. I spent about four months prepping. After that first night, I got approval from the other members of the band. Now, I was on the schedule. I would usually sub a few times a month.

Back to my initial question, when you are playing the same pieces over and over, do you go on autopilot? Or are you still very consciously engaged in what you are playing?