Strategically situated by one of the main entrances was the Cakewalk booth in the Roland arena where music production demos of the SONAR X1 were being held.

What I really want for Christmas: The PianoMic System by Earthworks. The adjustable bar lies across the soundboard, and there are no awkward booms or messy cables. I think something this inconspicuous and easy to use will definitely be an incentive to record solo piano more often.

The PianoMic System was installed in a piano with a sound that matched its stunning looks – the Ravenscroft. I met it’s creator, the affable Michael Spreeman – he custom builds pianos (acoustic grands in two sizes only), tailoring the action to his clients’ specifications using CAD optimization. This one was priced at 235K – only a couple or so are produced a year in his factory in Scottscdale, AZ. And then there’s the 9′ version at 280K. Darn, there was always someone at the seat playing this instrument, this is one I would have loved to test-drive!

Had the pleasure of spending some time with Peter Gannon, CEO-founder of PG Music. He is a musician as well, and was a medical practioner before he launched his music software company full time. The venture grew out of neccessity- he missed having accompaniment while he practiced at home, and this motivated him him to write a program that would generate different MIDI accompaniment styles based on chords that were entered into the program. I’ve been using Band-In-A-Box for over a couple of decades now (had the first DOS version!) and it’s come a long way since then. As one of the best music accompaniment & teaching tools available, I often recommend it to my students, especially those learning jazz.

Pianos, pianos! Day 3 at NAMM was spent mostly on level 2 & 3 where the acoustic piano booths were located. I’ve been to the NAMM show on two occasions prior to this one, and I just felt that this year, jazz pianists (most were killing!) far outnumbered classical pianists. Here’s a pix of 4 pianists improvising in tandem on the Shigeru Kawais – I was the 4th pianist, not in the picture Had a swell time playing on the Shigeru Kawai’s very responsive, beautiful touch, which reminded me of a water-bed for fingers!

On the uppermost floor, along with the Mason & Hamlin, Petrof and some organ makers, was where I played a couple of Faziolis – so different from the other pianos - the action was lighter, very airy and you could create smooth graded dynamics from a whisper to a crash with little or no effort! It was around a year and a half ago, after much piano testing and hands on research, factoring in various requirements and constraints, that I decided to finally purchase the Estonia L190 (for those wanting to read more, here’s the amplified version). Naturally, it was great to see Estonia booth at NAMM and meet Indrek Laul, its owner – he’s a concert pianist (Juillard) as well.

There was much to check out in this maze of halls and booths.  I attended a session for teachers – one of the statistics presented by a speaker caught my ear – a huge uptick in adult students inquiring about music lessons. I couldn’t agree more. I’d been wondering where the children have gone (I get more lesson inquiries from adults than children), but it is the baby boomers making a comeback! Then there were random events and people I came across that made the day all the more interesting. Like a chance meeting with bassist Matt Garrison just as I was scuttling through the bass and drum exhibition halls trying to avoid the ear busting cacophony! Good thing we both recognised each other – he was my first web design client way back in ’97! Then there was a shining transparent Brian Francis Moore drumkit that even had me stop in my tracks, Dr. Lonnie Smith demoing Hammond organs with a slow bluesy ballad, guitarists Martin Taylor and Andreas Oberg trading lines on All The Things You Are.

Visited the awesome Integratron built by in the early 60′s by aviation engineer and paranormalist George Van Tassel. Situated in Landers, CA about 20 miles from Joshua Tree NP in the Mohave desert, it brims with a colorful, if not fascinating history. The name “Integratron” actually applies to a machine, in Tassel’s terms - a high-voltage electrostatic generator, that would supply the range of frequencies to recharge cell structure. Magnetic fields and Tesla’s technique of creating high ionization static fields were also key principles in the development of this structure. Had an opportunity to sing in this all-wood acoustic chamber (only one of it’s kind in the world) and it was surreal. While I felt energy and a strong focus from my ‘center’, my voice had a re-inforced quality as if I had morphed into a tri-headed human with extra vocal cords. It was clear, rich and warm – no confusing bounce backs and garbled echoes, with the perfect amount of reverb. ‘Rejuvenating’ sound bath sessions are held here, and it would have been interesting to partake in one. The chamber is also rented out for recording sessions. Feel bad that we missed seeing Giant Rock a few miles away, as it only had dirt road access. Interestingly our UFO app comfortably mapped several coordinates of UFO sighting areas in this beautiful location.

• 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’.

Driving through Utah made me even more aware of the environmental impact of paved roads on national forests and public lands – and the increasing ‘recreational use’ of ATV’s/ORV’s. We saw ugly black tracks criss-crossing rounded mounds of white sandstone east of Capitol Reef, a clear misuse of natural habitat by ORV’s. The ATV dune buggies at Coral Pink Sand Dunes State Park were no better, jarring the stillnes of the desert afternoon with the piercing sound of their motors as they drove up and down the dunes, in all possibility scaring wildlife, destroying the ground and plant life underfoot, not to mention noise and air pollution. How can burning gas to tramp aimlessly through pristine forests and desert possibly be good for the environment?

Leaving behind the meadows and alpine forests of the Kaibab Plateau (after two splendid days at the Grand Canyon’s North Rim), US-89 snakes its way into the hot dry plains below. For a major portion eastward to Lake Powell, it skirts the foothills of the Vermillion Cliffs and we pass Lees Ferry, Marble Canyon, the newly constructed Navajo Bridge and the striking formations of the Paria Rimrocks. The temperature is rising slowly upward of a dry 95F, but we spend some time at the confluence of the Paria and Colorado rivers. I feel like I am at a gallery showing of rock art formations in this area. The lizard population here looks happy.

A night’s stopover in Page en route to Monument Valley. So this was the the controversial project I had read so much about. (India has it’s own – the Narmada Valley Project, its hundreds of dams created by flooding forest areas and displacing millions of poor, tribal people). In the late 60′s, the Colorado River was flooded into an enormous dam that was originally Glen Canyon, to meet the expanding thirst of California, Arizona and Nevada. It was met with regret later by politicians and conservationists, and immortalized in author Edward Abbey’s The Monkeywrench Gang (in which the dam gets blown up). There were several tour buses and a sprinkling of cars perched above the dam. Closer by the edge of the lake itself, with the marina in view, the blue-green water looked a little surreal the late morning sun.

The clouds were threathening to unfold since morning, and it was raining hard when we reached Monument Valley. During the drive, we saw several low lying areas already flooded with water in no time, and the repeated warnings of flash floods on highway signs and presence of road repair crew were making me a bit nervous. The mist and rain, were blessings in disguise as the storms provided us with a postlude of views in exquisite light & colour, gift-wrapped in a rainbow.

The expansive Canyonlands National Park with its mind-boggling vastness, really needs weeks to explore as do the other parks here. The Needles Overlook, (20 miles after the left off US 91N, the turn-off is a few miles before Moab) offered an amazing view of the canyons carved by the Colorado and Green Rivers. One late morning, we drove to the main entrance to Canyonlands from where we hiked to the beautiful Mesa Arch, and the Grand View Overlook Trail at The Island In The Sky with views of the White Rim (whitish salt deposits on the rim), Monument Basin, and the Maze.

Across the entrance to Canyonlands stretches Arches National Park – delightful at sunset, with red sandstone shaped into sheets of towering fins, hoodoo, arch and window formations that rise from slickrock and petrified sand dunes. The Manti La Sal mountains frill the horizon beyond.

Capitol Reef is the park that most impacted my soul – rugged and spectacular, a construction/destruction zone of an extremely busy celestial power, the earth left pitted by cataclysmic retchings and impacted by virulent effects of water, wind and fire. The park has several whitish Navajo sandstone domes that look like the US Capitol dome, the ‘Reef’ alludes to the tall 100 mile ridge running north-south along the fold – you can see it from the airplane – looks not unlike a thick bony fish spine compressed upward.

Some of the colors and carved textures in the sandstone were quite unbelievable, the quiet in the narrow gorge enveloped your eardrums, and the fall of a pebble would sound like a mini-explosion. Kangaroo squirrels hopped delicately across stones and ledges, always foraging for pine nuts, always skittish and alert.

The Escalante – National Staircase really needs to be visited again, the brief visit has left me wanting more. The “amphitheatres” within the Bryce National Park are really photogenic – brushing up on my chemistry – the brown, pink and red colors are due the hematite content (iron oxide), the yellows from limonite and the purples thanks to pyrolusite (manganese oxide).

So what music was I listening to during this trip? Er… nothing … I hadn’t anything in my travel collection that would come close to the music that was being offered by the soaring cliffs, undulating slickrock, sand, grand tectonic layers, piercing blue skies, swathes of rabbitbrush and sage, meadows of pine, dry gullies and lonesome creeks, spires, monoliths, balanced rocks, echoeing canyonsand badlands, all melting sotto voce into the gentle arc of the horizon beyond. On the other hand, if I had to choose something on my next trip, it would be music that would have no traditional harmony, jazz or otherwise. Instead it would have the qualities of atonalism & dissonance, with some predetermined structure over which spacious improvisation takes place. I think it’d pair nicely with the wilderness, destruction and re-construction that surrounds you!

Southern Utah Wilderness Alliance (SUWA)
Great Old Broads for Wilderness
High Uintas Preservation Council

My trip reads: Desert Solitaire (Edward Abbey), Utah’s Wilderness Areas (Lynna Howard), Scenic Driving, Utah (Christy Karras).

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.