In Depth... with Lisa Hilton
by Carol Archer

March 12, 2002

In so many genres music is described as "like so-and-so meets so-and-so" (i.e., Mariah meets Britney) because there is little to say about its uniqueness or artistry. But contemporary jazz draws so deeply from various traditions that such comparisons seem more fitting. In pianist Lisa Hilton's case, one hears echoes of such greats as Stan Getz, Bill Evans and Oscar Peterson, as well as of the spare solo piano renderings by such early Windham Hill artists as Liz Storey. But Hilton's voice is undeniably her own. Here she reflects on her life in music and her fourth independent release, Feeling Good.

"I've done four albums in four years, which tells you I spend most of my time composing and recording continuously. On this album I was definitely trying to have crossover appeal, a lesson I learned form my last record, Cocktails at Eight.... The solo piano does not get radio airplay. I like being played at straight-ahead Jazz, and I specifically included a couple of songs for Smooth Jazz. The standards are a good point of entry. A lot of people try to have hit songs, but I look at an album as a film soundtrack, with different moods. I'm trying to take the listener on a journey.

"I'm promoting my record myself and having some good luck. [Noncommercial Jazz] KLON/Long Beach, CA just added it. I'd love to be taken care of by a record label at some point, but right now, I'm learning a lot. Plus, I enjoy everyone that I've connected with at radio; they're so personable.

"My composition is organic. It's all inside of me, and if I sit down at the piano, it just comes out. Sometimes it comes out well-formed; other times it takes more effort. One of my beefs with classical composers is that they are writing to a formula, and it's not as much 'there'. I play classical every day, but the kind of music I write is more satisfying. The importance of bridging genres is that we want music that is applicable to today's life. People want variety ­ interesting, challenging music ­ but artists who make that kind of music can't be stuffed into a category.

"I'm not surprised adults like my music, but it was shocking to learn that kids and teenagers ­ even teenage boys! ­ like it too. My music is emotionally based and the instruments are real, and maybe that's why it stands out from pop-land, where everything's synthesized. I hope that's the reason people find my music appealing. Actually, I'm very interested in approaching kids in high school to talk about composing. Every kid paints a picture by the time they're 2 and writes a story by the time they're 6. Why should it be any different with music?

"When I saw the Grammy nominations, it was the same people in the same categories. It looks like there is nothing new out there, but I know something's got to break through. I think it's going to go more towards jazz than smooth jazz. Doesn't jazz seem to be everywhere? Still, people say they love to go to jazz clubs ­ but ask them to name a jazz artist."

Carol Archer/Smooth Jazz Editor (310) 788-1665
Email: archer@rronline.com