Q. What inspired you to first want to play the piano and what were your first attempts at playing it like?

A. I was encouraged to play music by my mother. Once I got to the place that I could play a little bit, (8 or 9), my Aunt was my biggest fan. I remember trying to play boogie woogie, Blue Suede Shoes, and blues type things as a kid. I was even singing.

Q. Did you take lessons or are you self-taught?

A. My mother showed my twin sister and I some little tunes when we were 7 or so...and then we took lessons from a lady in the neighborhood; and later another teacher. It was all classically oriented.

Q. Who inspired you to learn the piano?

A. There was never another instrument around except the piano.

Q. What is your current practice regimen like?

A. I do so much dance accompanying and gigging these days, that I'm lucky to be able to squeeze in a little bit of practice...maybe late at night or early morning before I'm out the door.

Q. How would you define your style of playing?

A. I think I'm really a crossover pianist. I have a classical background, from my childhood and college piano performance degrees; but I've always loved funky, rythmic music. As a teenager, I really liked ragtime. In my early undergrad college days, I studied jazz harmony with a couple of teachers in Denver, and really started learning the language of jazz...and playing it with other musicians. I try to use it all.

Q. Lets talk about your creative process. How do you approach writing an original song?

A. I'm in favor writing at the piano, with paper and pencil. I get more ideas from an acoustic. Most of the pop or house music I've written has been done playing into a sequencer. As far as my tunes go, they're usually based on a progression first, with melody added. I'm really just learning how to write, and now, I'm finding that composing a melodic or rhythmic figure first, and then adding the rest to it makes a freer, more flowing piece...so I'm trying that now too.

Q. What challenges do you face when switching from different styles of music?

A. There are different processes for jazz and classical. In improvising, you're creating the lines, shapes...really composing over the changes. In classical playing, those things have already been carefully put down by the composer, and you're interpretting that music. There's a real focus on subtle dynamic variations, colors, touch, in classical playing that isn't the first priority in improvising...not that those things aren't present in improvising. All those elements are important in improvising, but the improvising is the main focus. Maybe in a ballad, of solo improvisation they come more to the forefront.

Q. What other types of music or artists do you derive inspiration from?

A. I get inspiration from almost anywhere...love all music if it's well done.

Q. What is the most important bit of advice you were given by another musician?

A. Early on it was "...be on time, be prepared and know your part". Later it was "...relax and listen...". All of these are important.

Q. What equipment do you use live and in the studio and why?

A. I'm always looking for a good, tuned, acoustic grand piano, studio and live. More of me comes through on an acoustic instrument.

Q. What one piece of equipment would you advise all pianists to own?

A. Have a metronome, or drum machine. Don't get in the bad habit of playing in and out of tempo, and not listening. Practice performing.

Q. What is been your proudest playing moment?

A. I performed the 1st movement of Beethoven's 1st piano concerto with the school orchestra at U of Memphis when I was a grad student there. I was really in a zone. It was so much fun to play with the orchestra. It just really happened!

Q. What is the biggest disaster you've ever had onstage, and how did you cope with it?

A. I've had plenty. One time in particular, I attempted to play the solo piano version of Gershwins Rhapsody in Blue a concert in Memphis at the band shell in Overton park. I was ill prepared, and the piano was bad, it was about 95 degrees. I just got through it, somehow. Butchered the music. Went right home that day and started learning it right, because I was so embarrassed.

Q. Do you warm up before a concert and if so how?

A. I like to play the instrument I'll be performing on...ideally, before a concert, or at least warm-up on something near by. If nothing else, at least run some hot water over my hands to loosen them up. Warming up is really, though, a mental preparation also...preparing your mind and self to really listen to each note and sound, and all the spaces in between. And to accept what ever comes without judgement.

Q. What is the most important bit of advice you could give to new pianists?

A. Listen! Playing is really listening. Also, be efficient physically. Quiet your body and use only what you need. Posture. Relax! Loose wrist and arms. And for jazz improvising, practice improvised lines in the left hand alone. I think it engages the other side of the brain or something...

Q. Thanks for your time and consideration for this article and interview. Any last thoughts for our readers?

A. Have fun. All this advice I'm giving here, I'm reminding myself of the same...