• Size: between 5’8” – 6’8”, preferably larger than 6′
• Manufactured after 1950, it’s age preferably 5-20 years, requiring little or no major repair or maintenance for the next 20 years
• Width not greater than 61” or else it wouldn’t fit through the studio entryway. (The concrete bulkhead could be modified, but I wasn’t prepared to undergo a demolition to accommodate a piano)
• Deep, warm, rich sound, with notes in the upper and lower extremities that you’d actually want to play and not shy away from
• It would serve well for both classical as well as jazz repertoire
• Suited to my budget, which would place it somewhere in the mid-level range of pianos
• This one a phantom stipulation but of great importance – a piano that would inspire my creativity and compositional flow

Almost all research was done on the internet – piano companies, model specifications, dealers, customer reviews, Larry Fine’s The Piano Book, and browsing through piano forums. Among the stores visited were Darrells Music Hall (Nashua, NH), Londonderry Piano (Salem, NH), Steinerts, Boston Organ & Pianos (Natick, MA) & Allegro Pianos (Stamford, CT).

My early search started with Steinways in mind – not the new pianos – despite the revered name and surrounding hype, I wasn’t enamoured with the sound or price, but older models, preferably built after 1950, something I could put to use immediately without any major repair or work. On the other hand, there were custom re-built pianos, but at the prices quoted, I figured I might be better off purchasing a new piano with manufacturer support and 10-year warranty in hand. Another piano that I kept on my radar was the Petrof. I had played on it a few years ago at the NAMM expo, and had enjoyed the touch – warm, expressive, European sound, but none of the dealers in my area stocked it. And because they didn’t, most dealers did not view them in a favourable light. Which was understandable, as it made business sense to be partial to the manufacturers they represented. And lastly there were the Kawai’s – used pianos could be bought at a reasonable price, and I gave the new RX series serious thought, in fact was almost close to purchasing one.

With the arrival of June, my search intensified – by now, the Steinway & Petrof were dropped from my list and Schimmel, Vogel & Seiler added. This because I had the opportunity to play these instruments in stores, and although slightly beyond my budget, they were good instruments worthy of consideration. Bundled with the Schimmel or Vogel purchase came the expertise and pleasant disposition of Darrell’s Music Hall technician Russ, who promised that the instrument would be tailored and voiced to respond in the best way possible to my touch and playing style.

By the end of June, having made multiple trips to dealers, I narrowed down my choices to the Kawai RX3 and the Schimmel C182. My bank account was to be depleted by a larger margin. The spec sheets for both looked impressive, reviews were good, the Kawai dealer was even amenable to making a deal. I got the movers to measure the entryway to the studio to check if the move would go smooth. And this is where I wish I could be clear about why I didn’t purchase either. For one, I wasn’t filled with excitement or glee, and that is odd for a chronically chipper person like me about to make the biggest purchase of her life. Would saying “I didn’t connect with the instrument” suffice? Some might suggest the problem was mine – that in seeking some sort of mystical connection with the instrument, it had morphed into a psychological dilemma that had me confused, because for all practical purposes, they were good instruments. Perhaps I was not hearing the finer aspects of these instruments that the glossy brochures were talking about. Perhaps the piano would only reveal its true colors after the in-home voicing session by the technician. I write this as an pianist who was looking for a warm, rich, singing tone on an instrument which would guide my creative instincts toward writing and making more music. So yes, I’ll say I had to ‘vibe’ with the instrument – it would be my imaginative and inspirational partner in my artistic endeavours, and that’s a tall order.

Frustrated by now and eager to start all over again, I widened the search to New York & Connecticut. I researched August Forster, Estonia and the Shigeru Kawai. All well beyond my means, but where my initial search embraced a used piano with the possibility of ensuing repairs, I was now gravitating towards a higher quality, low maintenance instrument. The dealers call it an ‘investment’. They also had a penchant for comparing pianos to automobiles which I kind of went along with, albeit with some amusement.

A 4-hour drive to Stamford, CT brought us to Ori Bukai’s Allegro Pianos showroom. We arrived at 3:00PM, and after a cordial welcome by Ori were taken on a very professional and well-staged tour of the spacious two-storey showroom that housed an impressive array of pianos. Ori spoke at length on the intricacies of piano building, craftsmanship and how the materials used for the soundboard, strings and other parts eventually affect the resonance and acoustic properties of the piano. It was fascinating to listen to and watch him demonstrate an acoustic principle across a Blüthner, Bösendorfer, August Förster and Estonia in the same room. This was the very best way for comparison, in addition, it was great to meet a knowledgeable dealer who could also actually play well . Over the next few hours, Ori expounded on further facts, theories, possibilities and answered every query of ours, breaking off at intervals to execute a classical or blues/jazz influenced demo on the pianos.

And that mystical connection? Boy, was I on a roll! I was making connections with not one, but multiple pianos – the Bösendorfer, magnificent, full-bodied, sensual, its buttery feel the the icing on an strapping, beautiful instrument. The Steingraeber – its spectacular sound urging me to take chances, play lines I might otherwise have felt insecure about executing - it was like riding a wild black horse, my hair streaming in the wind, going “wheeee”! Damn yes, that’s what playing a piano should feel like sometimes – an exhilarating joyride! Just one minor deterrent, the price tags on these .

I spent several hours playing many of the pianos in the showroom from mid range to the super high end focussing on the experience not the price – the idea being to evaluate the relative differences from purely a performance aspect. An interesting fact emerged after a few hours. It became apparent that the difference between the majestic Bösendorfer, Blüthner and Estonia, was more subtle than I had expected, at least for my playing style and requirements. Beyond the price tags of course!

I spent a long while playing the Estonia L190, this one with a handsome African bubinga wood veneer, and my, oh my – I think this was it… it had a unique character, the action was great, the sustain long, the treble sang, the bass was round and had clarity in the lowest register, the instrument had the warmth, color and ‘spiciness’ I was looking for – I may have just found my heaven.

Our private appointment lasted 5½ hours (that’s how Ori works), we were home by 11PM. Suffice to say that the conversation on our return drive home centered around the pianos I had played on, the eloquent Ori, his magnificent showroom and the Estonia. I would be reviewing a few of the recordings in the week to come… I had played the same tunes on different pianos, in this way the density of notes, range of octaves, touch & dynamics would be more or less standardized, hence making it easier for comparison.

Yes, it’s about nuances of timbre, complexity of tone, workmanship and more, but ultimately for me, it was the difference between being content with a piano or being inspired by it. While this post is not an endorsement for any piano, for those ready to embark on this journey – there is the perfect instrument and then there is the perfect instrument for you, so know what you want, keep the doggedness alive, and don’t give up until you find it.

Through this whole process, which involved playing consumer grade as well as fine ’boutique’ pianos, my respect for those involved in the art of piano craftsmanship and the otherwise much under-appreciated art of piano tuning/voicing has risen several fold. As a final note, I made the decision to purchase the Estonia L190 from Ori Bukai. My hand-crafted European piano was shipped from Tallinn, Estonia in August, and after a month arrived at the NYC harbor where it passed customs and was delivered to his Stamford, CT showroom. It was here that is was uncrated, and prepared by Ori personally (Ori’s involvement in the prep being an important factor in this purchase) after which I made another trip to his showroom to play on it. The following week it was trucked to my address, and amid much excitement (barring the nail-biting move down the narrow stairs) was housed in my studio. The celebration soon after included a christening, complete with minister & champagne. To be fair to both sexes, the piano was christened ‘Toni’.

Another review in Greece’s Jazz & Tzaz magazine. [English version here]

The project was recorded mixed and mastered in high definition audio format at 24 bit, 96 KHz resolution to capture and retain pristine quality throughout the production process. I believe the final results sound really good and I hope you enjoy them. This time around this project is being released in multiple formats such as:

• Audio CD’s: Shipping now, and can be purchased from my store.
• High resolution “Instant Downloads”:  These are higher quality than downloads available though sources like iTunes, Napster, Rhapsody, etc). We acknowledge that many (or most) people today, with their busy lifestyles listen to music on the go, either via portable music devices or in their car. To facilitate this we have high resolution Instant Downloads available on our website for all the music. You can buy the album in digital format and be ready to listen with your portable music player in minutes. Every full album download includes an exclusive high res PDF of the album art and liner notes and all mp3′s come with complete ID3 information and album art ready to transfer to your mp3 player! All downloads are DRM free (no digital rights management) and can be used on any music player of your choice.
• High Definition DVD format: For the audiophile audience, this will offer the 24bit/96KHz mastered version of this recording. This is higher quality than CD and will be playable over any modern home theatre system. We are considering releasing this in the near future so stay tuned for more updates on this.
• Sheet Music:  Compositons recorded on my CD’s are now available in PDF formats, each of which includes C & Bb versions. Also available is a 10 Track Collection from One Of Us. 

To place a secure order for these items please visit the store.

Having a song, tune, or commercial jingle stuck in one’s head is a phenomenon known as having an earworm. Most people have had an earworm at one time. The experience is harmless and unrelated to both obsessive-compulsive disorder and endomusia, the hearing of music that is not really there. Certain songs—simple, repetitive, or oddly incongruous—have properties that act as mental mosquito bites in that they produce a cognitive “itch.” The condition also arises when people struggle to remember forgotten lyrics or how a song ends. To scratch a cognitive itch, the brain repeats the song, which then traps the hapless victim in a repeated cycle of itching and scratching. Everyone has his or her own list of demon tunes that haunt. Earworms occur more often among women, musicians, and individuals who tend to worry. (OK, so that makes my brain a perfect haven for earworms). Earworms also vary across situations, striking when people are tired or under stress. How can you make an earworm go away? Thinking of something else or actually listening to the song in question are thought to help, but there is presently no research evidence showing what works best. Fortunately, most episodes eventually dissipate on their own.