My improvisations draw on a lifelong classical foundation while incorporating the expressive vocabulary of blues, gospel, and jazz. At the heart of my practice is a feeling of dialogue — between styles, between past and present compositional eras, and between instinct and intention.
Rather than aiming to imitate a single idiom, I work toward a kind of musical co-existence: letting Chopin style runs complement gospel voicings, feeling fragments of classical resolution follow blues style call and response, or allowing a blues scale to twist through Romantic phrasing. These moments of convergence are not engineered, but rather felt — resulting from a daily practice of listening, and responding to what emerges, and allowing things that “break the rules” of classical harmony.
Improvisation offers me a space that is both structured and free — where authentic feelings can take musical form without needing to be named. Each piece is a conversation and narrative.
Rather than aiming to imitate a single idiom, I work toward a kind of musical co-existence: letting Chopin style runs complement gospel voicings, feeling fragments of classical resolution follow blues style call and response, or allowing a blues scale to twist through Romantic phrasing. These moments of convergence are not engineered, but rather felt — resulting from a daily practice of listening, and responding to what emerges, and allowing things that “break the rules” of classical harmony.
Improvisation offers me a space that is both structured and free — where authentic feelings can take musical form without needing to be named. Each piece is a conversation and narrative.