BIOGRAPHY
I have been playing and performing on the
piano keyboard for over fifty years. Born in Puerto Rico and
raised in a traditional Latin American family, I am inclined
to explore indigenous art forms as well as sounds found in
nature.
My most influential educators have been:
- Elsa Rahlpach ~ circa 1954 -
1957 ~ Classically trained pianist and educator. Elsa was my
first piano teacher after my mother. I remember vividly
walking through a cemetery after elementary school to Miss
Rahlpach's house for classes once a week. It was here that I
learned about middle C, the rudiments of reading music, and
most of my scales.
- Theran Mills ~ circa 1959 - 1964
~ Pianist, music theorist, and electronic piano educator.
Theran was responsible for showing me the intricacies of
musical theory and complex chord structures. He also
introduced me to the Wurlitzer electronic piano. Theran, as
an active member of MTNA, initiated me into the world of
live performance. The musical theory education I garnered
would later serve me well while working with numerous
contemporary musicians and composers.
- F. Ming Chang ~ circa 1964 -
1970 ~ Professor Emeritus in Music, Seton Hall University.
Ming, or as his friends called him, Fred, is a remarkable
pianist who instilled in me a vital understanding of musical
dynamics. Our study of the range, quality, and density of
sound through classical piano literature provided me with
the passion I have today for expressive dynamics in
performance.
- Norman Schnell ~ circa 1977 -
1978 ~ jazz musician, educator, and pianist for Gene Krupa
and His Orchestra. After several years of flailing around,
hopelessly lost in the contemporary music scene, my mother
suggested that I study with one of her fellow Duke
University alumni. Norm and I hit it off immediately. Every
week I was given a jazz standard from which I was to freely
improvise several choruses. Most of these standards I hadn't
heard before, so this was the first time I was able to
closely hear and study jazz voicings.
- Lillette Jenkins Wisner ~ circa
1983 - 1984 ~ concert pianist, composer and vocalist. Still
frustrated by my inability to find a musical direction, I
took a job as pianist for a youth choir in a regional A.M.E
church. In dire need of acquiring 'gospel chops', I was
fortunate enough to study with one of the music industry’s
most active and talented piano players for almost a year and
a half. I question whether I fully mastered the gospel piano
style, but I did end up working in that church and several
of its choirs for over eight years.
- Laurie Altman ~ circa 2000 ~
composer, pianist, recording artist, and teacher. Around
1995 I had finally isolated myself from contemporary music
long enough to spend some time seriously exploring
improvisation. I found I still hadn't acquired the
rudimentary theory and skills to get through a four-hour
solo piano engagement. I really was in need of a new way of
looking at melody and chord structure. To this day I refer
to my class notes with Laurie, and if I have any
improvisational ability at all, it is to him I owe the
credit.