Happy to be misunderstood

“People assume that strings can’t swing,” says violinist David Balakrishnan. “We’re here to show that they can.”

They can, and they do. Now in its 17th year, the Turtle Island String Quartet, founded by Balakrishnan, has overthrown every stylistic assumption where chamber music is concerned. In March, the Oakland, Calif., group makes a return appearance in Atlanta, performing at Spivey Hall.

Stylistically, the ensemble connects the musical dots between traditional European classical music, jazz and contemporary acoustic sounds. You could call it alternative chamber music. You also could call it a string quartet jam session. Strong emphasis is placed on improvisation in performance, and all four members are gifted in improvisation as well as composition.

From the start, the 47-year-old Balakrishnan has been something of a musical maverick. “No one expects violinists or cellists to play jazz,” he says. “If you do, you’re a rebel from the start, because you’re not doing what your teachers told you. But when you’re studying classical music at 11 or 12, you naturally experiment with playing rock. I realized when I was 13 that there were a million rock guitar players out there, so I went to the violin with my guitar pick and started playing blues riffs.”

Balakrishnan began composing as well, forming a group to perform his eclectic works. By 1985, he’d found three other musicians who shared his all-embracing attitude toward music. Today, only Balakrishnan and cellist Mark Summer remain of that original group.

The Turtle Island String Quartet found an immediate niche and was soon snapped up by the Windham Hill label. “The world was ready for this kind of music,” says Balakrishnan. “People responded to the original compositions and the jazz arrangements.”

But the hardest part was getting the traditional music world to recognize the importance of string musicians playing improvisation, as well as other styles — something Balakrishnan sees as a connection rather than a crossover.

“It’s a stylistic integration,” he says. “Listeners experience a cohesive image, rather than a collage.”

But a mix of musical styles can sometimes mean marketing chaos. “Marketing can trivialize your art,” Balakrishnan admits. “But the audience recognizes that we’re rooted in traditional music, so there’s no resentment from the cognoscenti about our not playing Mozart. People recognize us as real classically trained musicians.”

And adherence to their training and technique has brought the Turtle Island String Quartet acceptance in the classical music world. “The secret is in not being a renegade,” says Balakrishnan. “We don’t break with tradition — we honor it and emanate from there. If you extend your tradition, and show that you’re rooted in it, your music can be timely — and also timeless.”

Eclecticism continues to play a part in the group’s work in the recording studio and on stage. Their newest release, Danzon, features a collaboration with Cuban-American saxophonist/clarinetist Paquito D’Rivera, in a celebration of Latin music and rhythms. On the live end, the group continues to tour five months out of the year.

“There is a strong tradition for chamber music in America,” says Balakrishnan. “But you’ve got to realize that you’re not going to play stadiums here. In classical music, you can’t market yourself as if you were U2. But you don’t have to reach a million people to be successful.”

The group has achieved major acceptance in Europe, touring Germany four or five times a year. Still, the path to critical acceptance hasn’t always been smooth. But Balakrishnan is philosophical about the bumps in the road.

“You have to learn not to get angry about not being understood,” he says. “If you’re smart enough to stay open to the fact that the world is not ready for you, then you realize that just maybe, there’s something you need to learn from the world, too.”

Turtle Island String Quartet performs Fri., March 1, at Spivey Hall. 8:15 p.m. $25. 770-961-3683. www.spiveyhall.org.??