Lisa Hilton is considered one of the most distinctive composers and pianists in jazz today. Trained as a classical pianist but with a degree in art, she has created her evocative, individualistic and impressionistic "sound paintings" for over a decade as a leader. In the book, The New Face of Jazz, Hilton was "compared to some of the best pianists in history," her imagistic compositions drawing deeply on classical traditions, twentieth century modernists, and the avant-garde as much as they look back to American jazz and blues artists like Thelonious Monk
Well, I follow art and music both and I have done both. Now I think that those interests are working together for me: my art is my music.
Your sound and approach to music:
I think that as a composer in the 21st century it is important to find the approach that sounds like life todaynot like music of the last century. We can appreciate and reference the past, while moving forward.
Your teaching approach:
I don't really believe that the arts can, or should be, taught. It is a path of discovery that only the individual should walk. Teachers can inspire, and suggest directions, but only the artist is in charge of where and how they will go and get there. Music and art are expressions of love and communication, so they areand should beunique to each individual. Being graded or judged for those expressions endanger the pureness of that communication.
Your dream band:
I think I have a dream band with Larry Grenadier and Nasheet Waits.
Road story: Your best or worst experience:
Well, as a pianist you are normally at the mercy of whatever piano is available, and if it's been tuned or not. At one club, I was told the technician had been tuning the pianojust for mefor four hours when I got there (and took another hour after that), when it normally takes about an hour or so to get an instrument tuned! On the other hand, Steinway NY gives me the most sublime instruments in the entire U.S.
I don't know if there ever is a favorite, because everything else is a factorthe instrument, the audience, the engineer or sound. Every venue is an improvisation.
Your favorite recording in your discography and why?
I love our new Getaway (2013), with Larry Grenadier and Nasheet Waits. I think it is exceptionally well recorded and with these masters you want to hear it all! This is our third recording together and there is a lot of freedom exhibited here. I think you can hear excitement, but also a level of trust with each other. I think that Larry and Nasheet were laughing and happy after every take, too It was challenging, but fun.
The first Jazz album I bought was:
Probably Getz/Gilberto, like most people.
What do you think is the most important thing you are contributing musically?
When I listen to Gershwin, his music describes the bustling New York City of the 1920s in "Rhapsody In Blue," but I have only seen that NY in movies. Our music should sound like the times that we live in, and as a composer it is important to leave work for future generations to understand and explore this time period, as well as to connect with others today. I think music is our original Social Network, and it spans the centuries.
Did you know...
I had a big challenge with performance anxiety for a very long time. Glad to move on from that one!