"I think I have two sides: one is romantic - like Chopin. The other is abstract - but even though it's abstract, I think it's still romantic."

The idea of abstract romanticism may seem puzzling, but only until one hears the intensely-etched lyricism of pianist Michael Jefry Stevens.

Stevens, who tabs Bill Evans and Cecil Taylor as his main influences on piano, takes both a few steps farther with his head-turning playing on a dizzying number of new and upcoming releases. Just a few of this mercurial pianist's recent recordings include new music with his Fonda-Stevens Group (which includes the dynamic horn section of reedman Mark Whitecage and trumpeter Herb Robertson; a trio with bassist Dominic Duval and cellist Tomas Ulrich (both of which will be released in the Fall of 1998 on Leo Records); a quartet consisting of his 9-year-old Stevens, Siegel & Ferguson Trio with the addition of trumpeter and Blakey alumnus Valery Ponomarev on Imaginary Jazz; another quartet with ex-Gerry Mulligan sidemen Dean Johnson on bass and Ron Vincent on drums, plus saxophonist Adam Coker, who comes via Ray Barretto and Bobby Previte; and a more abstract trio recording featuring Harvey Sorgen on drums and Steve Rust on bass.

Since the LP bit the dust it might be anachronistic to call any of these discs Two Sides of Michael Jefry Stevens, but the range of partners indicates the range of Stevens' piano: at once lyrical, hard-driving, delicate, intense, melodic, furious, and - beautiful. Stevens is gaining notice worldwide for his stop-on a-dime versatility and controlled adventurousness, as in a trademark moment on Fonda-Stevens' Live from Brugge (DeWerf) where he and drummer Harvey Sorgen suddenly shift gears from a Götterdamerung-like fury to a serene and assured playfulness.

Besides gaining increasing recognition for his playing, Stevens is composing - and arranging his own material. He was recently awarded second prize in the 1996 Monaco International Jazz Composition Contest. Some of those compositions are the working material of the 17-piece Brooklyn Jazz Composers Orchestra, which he co-founded and co-leads - and which recently featured guest soloist Dave Liebman.

While Stevens is finally gaining the recognition he deserves for his pianistics, he's also finding the time to drop by a classroom or two. He's passed two stints in Denmark as artist in residence at the Royal Academy of Music in Arhus, plus held master classes in improvisation and composition in Mexico City, at the Centro Nacional de las Artes - as well as recent residencies at Arizona State University and SUNY New Paltz.

Versatile as he is, when not performing with his own original projects Michael can be found working with several NYC vocalists, including Miles Griffith and Arlee Leonard. One of his next projects will be an electric/vocal affair featuring his original vocal compositions. "I have lots of ideas for new music, but ultimately you have x amount of energy in your life, and you have to choose how you want to spend it. I spend it in the service of great music: I try to bring it forth onto the planet, because I think the planet needs it, and I think that my role in life is to share whatever the Creator allows me to."

He's already brought forth a good bit of great music, and it looks as if there's a lot more to come.

"I could not have picked a better person to colead a group with than Michael. He is truly an ever-evolving being whose contribution to the music and to his community is immeasurable. We all are very fortunate to have him in our lives." -- Bassist Joe Fonda