Who is the greatest hip-hop violinist? Many regard Jascha Heifetz as the greatest strings player of all time and Stephane Grapelli as one of the best jazz violinists, but they’re both dead.  Classical music living legend Itzhak Perlman is more accustomed to performances at Carnegie Hall then he is with those at the Apollo.

Perhaps it took a woman, Israeli born with dual U.S. citizenship, who has performed at both of these venues and with the likes of not only Isaac Stern and Wynton Marsalis, but also Jay Z and Kanye West.  Perhaps most already know, but the woman’s name is Miri Ben-Ari, and she is the world’s first hip-hop violinist.   

As far as music goes, hip-hop can be likened to a teething child still in its infancy, where as its new counterpart, the violin, is a 16th century relic of an instrument looking for its dentures.  However, there is a reason the violin is still around: it sings to the audience with its expressive pitch and range, arguably unlike any other instrument. 

Ben-Ari combines an improvisational style of violin playing that has classical roots, was jazz trained and battle tested on the NYC bar scene, and is morphing with one of the most influential music markets in the world.  The main difference is that she is making the violin sing and hip-hop sound in ways never heard before.  

When classically trained professional musicians see Ben-Ari play, they are instantly enamored with her virtuosic abilities.  As Ben-Ari puts it, this may simply be an appreciation that all musicians are incredible, but it is likely closer linked to the unique freshness she is providing with the songs she performs.  There is a new air of musical legitimacy flowing to hip-hop and much of it is billowing from Ben-Ari’s bow strokes. 

“I’m like a music messenger, getting it to the streets,” says Ben-Ari.  The streets, sold-out concerts and countless music videos on MTV and BET are a few of the places she is sending her tune.  It took only a few moments of her solo performance for the historically judgmental Apollo crowd before she had them flabbergasted. 

Instances like these are becoming common place, so much that when asked to describe what is different about her as an artist, Ben-Ari feels most comfortable using statements other people have made about her.  “When I play, people say that it’s like I’m talking,” she says.  They also tell her that she is revolutionizing things, that she grooves, and that the violin is an extension of her hand—but what do they know. 

Flattery is nice for the successful hip-hop artist but it could probably get mundane for someone who is also an extremely photogenic 20-something with endorsement deals from the likes of Reebok and Lady Foot Locker.

“It’s funny, but I learned it’s (being attractive) very important, especially in hip-hop—music and sex is the same thing,” says Ben-Ari.  “If people see me on stage and think I’m very attractive, cool!  I feel very lucky about that, if people like me.”

Ben-Ari speaks openly and with a frankness about her that coincides with her free-styling abilities on the violin.  There is a green hologram of a butterfly that resides near the chin rest on her violin.  About the size of a quarter, the emblem is out of place and uncharacteristic of an instrument that does not take well to cosmetic flare.  These preconceived notions are disregarded when Ben-Ari shares that the butterfly flies every time she plays.  Where she is today came about not from holding back on societal norms but from pushing the envelope and testing herself. 

“My upbringing in Israel made me the person I am,” says Ben-Ari.  “It prepared me to take and fight, be independent and get what you want.  Whatever I accomplish, I feel like I bring great respect to Israel.” 

Ben-Ari became the first Israeli to win a Grammy Award in a non-classical category when she contributed on West’s debut album, The College Dropout.  Without forgetting this young woman’s Israeli roots, where her family still resides, she aptly considers herself an American artist “from another flavor.”  

“When I came to the U.S. I didn’t speak the language but I spoke the music language,” she says.  This apparently was enough to begin her self-transfusion, a personal journey that in part feels as if she is conforming to hip-hop music but also taking it places it has never been. 

“Do you believe in past life?” asks Ben-Ari, attempting to describe the intricacies of her musical development.  Beginning her life around traditional religious music, Ben-Ari eventually found R&B, which she says was a shameful act of self-indulgence. 

“I discovered black music on my own and I play it as my own,” she says.  “It’s like a reincarnation or past-life experience…soul.” 

Ben-Ari’s career path needs neither apologies nor excuses for where it is today.  She is a determined woman who is gifted enough on an instrument to play it professionally in three distinct categories.  Despite her blatant abilities on the violin, hip-hop is clearly a forum that primarily demands vocal artists.  While it is becoming popular theory that Ben-Ari is on her way to being a hip-hop staple, there is a remaining question that asks what kind of lasting impression she will have.

One thing will be emphatically clear this Fall when Ben-Ari’s self titled CD of sorts is dropped (it’s titled The Hip-Hop Violinist), it is becoming hip to play the violin.

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This article was originally published in Flossin Magazine. This article is edited by Edna Waters. This article is optimized for web by Steven Christian (Artist | Author | Podcaster).