By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
"It was difficult," he confesses. "When we met, we just really hit it off. I felt at peace in his company. We hung out all the time. He became my main companion. Even though it wasn't like we were dating or anything, it was nice. I could pretend."
Cooke's quandary was that he was hopelessly enamored of a guy who wasn't interested in any guy.
For years, Cooke had kept his romantic feelings about his close friend under wraps, until he finally mustered the courage to lay it all on the line. While a typical hetrosexual male might have had an adverse reaction to hearing such a startling revelation, Cooke's crush offered up a rejoinder worthy of Jack Nicholson in As Good As It Gets.
"He was shocked at first," Cooke recalls, "but his main sentiment was, like, 'Thanks. It's nice to be admired.' It was a great exchange of words. He said to me at one point, 'Ian, I love your music. Of all the music that's available to me, of anything I can listen to, you're my favorite. I'm the most excited to hear what you're going to do next.' And that just, like...aaaagh...killed me."
Like countless artists before him, Cooke channeled his heartache into his music. The result is an extraordinary disc titled The Fall I Fell, produced by Bob Ferbrache at his Absinthe Studios. Over the course of a dozen songs, Cooke captures the pathos of his precarious predicament, eloquently purging his pent-up emotions and frustration.
"It's all about this situation that's been the lay of the land for me for the past six years," he says. "It's me kind of narrating and talking to this person and just spilling my guts out and saying, 'Thanks for enabling me to love someone so much. It sucks that you can't reciprocate, but thanks for being an awesome person.'"
Cooke is awesome in his own right. He was born in Australia while his parents were on a Fulbright teacher-exchange program, and then the family moved to Greeley. When Ian was entering kindergarten, though, the Cooke clan moved to Houston for a year, thanks to another exchange program. This time, they swapped houses with a Texan family whose house had a piano. "I immediately ran over to it and started pounding away," Cooke recalls. "I spent a lot of time after school messing around, trying to establish melodies. Figuring out the pattern of the keys was a pretty fun process. I would sing a note until I could find it on the keyboard and then keep at it until I could sing it and play it at the same time."
Seeing their son's musical aptitude, his parents hired a Russian instructor to give him piano lessons using the Suzuki method, an immersive technique that exposes students to music audibly before they're presented with its visual representation. The approach suited Cooke's learning style at the time, but it later hindered him a bit. "I couldn't sit down in front of a new sheet of music that I'd never heard before and just play it," he says. "The black dots didn't trigger a sound in my head. They were just a bunch of black dots."
By middle school, he'd made the transition from piano to cello, which became his constant companion. That was fortunate, because Cooke's classmates definitely thought of him as the weird kid. If they weren't teasing him about wearing his sister's cast-off periwinkle shoes -- which his mother assured him were unisex -- or how he wore his pants pulled high above his waistline, they were ranking on him for his hair, a canvas he used to express his individuality. "I was always experimenting," he says, describing one particular hair-raising episode. "One time, I had a part down the middle. My hair was puffy, so it made this arch with a crease down the middle. One kid was like, 'The top of your head looks like a butt.'"
Cooke was far too talented to remain the butt of jokes for long. After graduating from Greeley Central High School, he enrolled at the University of Northern Colorado, where his father was a professor. But two years of UNC's arts and music programs were enough for him.
"The music program was really intense," Cooke asserts. "I just couldn't handle six hours of practing per day. Playing the cello became this ugly chore that I dreaded. And a lot of it was that I didn't like playing music that wasn't my own. I learned a ton; everything I know I learned from playing other people's music. But I just felt too binded."
Soon after dropping out in 2001, he spotted an ad that Uphollow had placed for a cellist. Discovering that he and Ian O'Dougherty shared very similar sensibilities, he began commuting to Denver and rehearsing with the band. That summer, he packed up his gear and moved into a Bannock Street warehouse that he shared with O'Dougherty. Over the next few years, Cooke contributed to two exceptional Uphollow discs, 2002's Ten Fingers and 2005's Jackets for the Trip.