Wayne Horvitz

Pianist and composer Wayne Horvitz continues to add new chapters to his prolific, wide-ranging career. He was a key part of the downtown New York jazz scene in the 1980s. Now based in Seattle, his work continues to bridge multiple dimensions, somehow both experimental and grounded in tradition. Simple labels may not suffice, but we can safely call Wayne a consummate collaborator. His partners have included Bill Frisell, John Zorn, Carla Bley, Steve Swallow, Robin Holcomb, among multitudes. He’s toured the world with his own ensembles and composed for many others. Then there’s his work as a producer, as well as facilitator at venues such as Seattle’s venerable Royal Room. (See his bio below.)

RBR has joined forces with Wayne on two recording projects: In Absentia (2023) and 11 Improvisations for Piano and Amplified Piano (2024). The first is a unique collaboration with ten gifted artists forged from the isolation of the pandemic. The second is a fresh set of solo pieces.

In Absentia highlights Wayne’s versatility and improvisational prowess. Each piece is a virtual chamber trio roughly three minutes in length. Interspersed among these tracks are otherworldly 30-second remixes by Wayne’s son, Lowell. Contributors are listed on the cover below. Trumpeter Ron Miles is featured on the first and last tracks, his final recordings before he passed away in 2022. Wayne’s detailed liner notes offer more detail.

 
Wayne Horvitz’s music remains multifaceted and transportable, from the hinterlands of avant classical to down-home folksy charm, from small group getups to large-ensemble blowouts
— All About Jazz

11 Improvisations was recorded live in the studio at Jack Straw Cultural Center in Seattle. It’s a series of concise pieces that shines a light on the sparse beauty of Wayne’s solo playing. The set is a mix of acoustic, amplified, and prepared piano.

As he put it, “Although not a pop artist, I suppose I still love a 3-minute song.”

If there was a free improv Top 40 (and there should be), both of these albums would be well represented.

If Sartre made a noir flick, he’d have wanted Wayne Horvitz to score it.
— Giovanni Russonello, New York Times