Luciano Troja: To New Life: The Music Of Earl Zindars

Like many before him, Sicilian pianist Luciano Troja discovered the music of Earl Zindars (1927-2005) through pianist Bill Evans, who probably recorded more tunes by Zindars—nine in total—than he did by any other composer. Equally smitten, Troja has been down this road before, paying homage to Zindars on At Home with Zindars (Self Produced, 2011), a five-year labor of love which included a pilgrimage to Zindars' family home in California. Zindars' closest kin inspired many of his compositions, resulting in music of emotional and lyrical depth. It is little wonder that Evans was so transfixed. Here, Troja comes full circle, interpreting Zindars' music live before an audience at the Maybeck Studio for Performing Arts, California, with Zindars' family and friends in attendance.

Depth of feeling, which Troja admirably succeeds in transmitting, is only half the Zindars story. A classical as well as a jazz composer, Zindars was an architect of arresting harmonics and rhythmic elasticity, with a penchant for deceptively simple yet haunting melodies. These traits shine forth on "Lullaby for Helene," "Sareen-Jurer," "Elsa" and "Mother of Earl"—compositions which Evans returned to time and again.

There are shades of Debussy's romanticism and Satie's exquisite minimalism in Zindars' refined melodies—delicate starting points for more full-blooded, two-handed expression. Whether caressing the keys or summoning rhapsodic churn, Troja's sensitive touch reflects the introspection, nostalgia and longing at the heart of Zindars' music. If the music frequently evokes Evans, it should come as no surprise as Zindars would often compose with his friend in mind. Still, one has to marvel at Troja's emotional investment and his unshowy virtuosity.

At times, a hair's breadth separates somber reverie from aching beauty, while medium tempo swing can abruptly make way for a waltz feel. Such emotional shading and structural fluidity make for compelling listening. Had Evans lived, one suspects that he would also have embraced latter-day Zindars compositions such as "Karen's Mode" and "Roses For Annig," drawn, no doubt, to their aching lyricism, romanticism and passion.

Five studio tracks round out the album, including Zindars' previously unrecorded "Wissahickon Walk," a brooding composition from 1961, spare and formal by design. Here, in addition to piano, Troja employs a Syrian riq—a tambourine that belonged to Zindars—to effect a ghostly pulse which underscores a certain ritual quality in the piece. A delicate four-part suite, "To New Life," inspired by a poem gifted to Troja by Zindars' daughter, Helene, reveals the Italian's own gift for music of refinement and elegance.

As Zindars recorded just two albums in his lifetime, Troja's second full-length homage feels like the closing of a recording cycle. Still, there is no reason why Troja cannot tour ad infinitum as a committed Zindars ambassador, much as Evans did. This is a fine tribute to an exceptional though underappreciated talent; Troja shines new light on Earl Zindars and his legacy. A contender for solo piano album of the year.