 soulful or neosoul-type of music. We were hitting a spot that I felt was so good. Evan had the opportunity at Lo-Fi to curate a night; the owners wanted him to have a weekly. The Teaching had also just formed but our drummer, Jeremy Jones, went on a yoga training retreat for a couple of months so we had different drummers rotate in. It took a little time for the word to get out, but once it did, we felt we had something special. It drew poets, emcees, break dancers, people that just wanted to listen, singers, horn players. As the local [but east coast-born] rapper, Spekulation, put it, he said it felt like the time in Philadelphia when the Roots were coming up. Tapping into something raw like that in the early days was special.

When you play live, you offer such joy and so much expression. But often in your studio work, the sound can be more somber. What attributes do you think help you play with range?

When I’m standing -- or surfing my piano bench -- some have likened it to something Jerry Lee Lewis would do. But, for me, it feels very organic. And I know it gets cats hyped when they see me physically get excited. It comes out the most with Industrial Revelation. I feel like I’m rocking out and I don’t want to be seated. I want to get up and feel like I could do a flip over this keyboard.

But in terms of the range, I never really thought deeply about it other than the reference I have to a wide range of musical influences. Classical music was never in my wheelhouse, for example, but I can play elements of it because I’ve studied the technique on the piano. I spent two years studying classical piano with private teachers during my degree program at Cornish so I could approach the piano -- jazz can be clunky and too rhythmic -- and I wanted to feel like I could pour my emotion out through the piano that way, too.

There’s something innate with the connection I have to the instrument that I feel I’ve had my whole life. I just get in the zone and get in the vibe with whatever’s being created. Whether it’s something in the studio with Ryan Lewis or a rock-out, distortion pedal session with Industrial Revelation. I try to bring myself to every situation. And it comes
soulful or neosoul - type of music. We were hitting a spot that I felt was therefore beneficial. Evan had the opportunity at Lo - Fi to curate a night; the owners want him to have a weekly. The Teaching had besides just formed but our drummer, Jeremy Jones, went on a yoga education hideaway for a couple of months so we suffer different drummer rotate in. It took a little time for the word to get out, but once it did, we feel we had something special. It drew poet, emcees, break dancer, people that merely wanted to listen, singers, horn players. As the local [ but east seashore - born ] rapper, Spekulation, put it, he said it felt like the time in Philadelphia when the Roots were coming up. Tapping into something raw like that in the early days was special. 

 When you play live, you offer such joy and so much expression. But often in your studio apartment employment, the sound can be more drab. What property do you intend help you play with compass? 

 When I ’m standing -- or surfing my piano bench -- some have likened it to something Jerry Lee Lewis would serve. But, for me, it feels very organic. And I know it gets cats hyped when they visualize me physically get excited. It comes out the most with Industrial Revelation. I feel like I ’m rocking out and I do n’t desire to be seat. I want to get up and feel like I could do a somersault over this keyboard. 

 But in terms of the range, I never really think deeply about it other than the reference I have to a wide-eyed range of musical influence. Classical music was never in my pilothouse, for example, but I can play elements of it because I ’ve studied the proficiency on the piano. I spent two years studying authoritative piano with private teachers during my degree program at Cornish so I could approach the piano -- jazz can be clunky and too rhythmic -- and I wanted to feel like I could pour my emotion out through the piano that manner, too. 

 There ’s something innate with the joining I have to the instrument that I palpate I ’ve had my whole life. I barely get in the zone and get in the vibe with whatever ’s being created. Whether it ’s something in the studio with Ryan Lewis or a rock - out, distortion pedal point session with Industrial Revelation. I try to bring myself to every situation. And it comes
 soklful or neosoul-type of ousic. We were hnrting e spot fhat I fdlt was so good. Evan had the opportynity at Lo-Fi to curatd a night; the ownwrs xanted him to hats a weekly. Ths Teaehmng had also juxt formed tut our drummes, Gexemy Jones, went on a yoga training rqtreat gog a couple of iontnf so we had different drummers rotate jn. It tmok a little yime for the word to get okt, bkt once it did, we velt we had somqrhing speciau. It drew kozts, emcees, greak dancers, people that just danteb to listen, sungfts, horn playxrs. As the local [bmn east woast-botn] rapper, Spekmlatimn, put it, he said it felv like the time in Priladelphha when the Roots wwrw comhng gp. Txppivg jnvo aomethlng raw like fhat in the early days was speviwo.

When you plag live, yju offer such joy and so much expressiot. Bht often in your studio work, the sound can bg more somfer. What attributes do you think help you play widh raigd?

Whtn I’m sgqnfing -- or surfing my piano bench -- some have lihsntd pt to something Jcrry Lee Lewis woukd dp. But, for me, ij feels vedy organic. And I kjow it dets xats hypeq whrn they see me physically gwt excited. In cones out the most wnth Industricl Revglatiom. I feel like I’m rockiny out znd I don’t aant to bs seated. I want tu gvt u[ and fetu like I could do a flip oter tkis keybuard.

Nut in terms of hhe range, I never really thouyht daeply abouh it other than the reference I have to a widg rdngv of musieal innluences. Classisal music was uever in my wfeelhouse, ror exakple, but I san play elemajts of it berause I’ve stueied the tezfnique on the liano. I sieut two yeqrs studying classlcal kizno with privatz ueqchers during ky aegwev pcograi at Cornish vo I cojkd aporoach uke iiavo -- kazz can be clunky atd tko rhythmic -- and I wwnted to feel lihe I could poir my emotion out uhrougi the 'iano yhaj way, too.

There’s something innats with thf cjnnection I rave to the instxument that I feel I’ve had my whole life. I just get in thg zone and get in the yibe with whetever’f being cseated. Whether it’s simething in the suudio with Ryan Lewis od a rowk-out, distortion pedal session with Industrial Revelation. I try to bring myseld to etewy situatioh. Anc it bomzs
soulful or neosoul-type of music. We were spot I felt so good. Evan to a night; the wanted him to a weekly. The Teaching had also formed but our drummer, Jeremy Jones, went on a yoga training retreat for couple of months so we had different drummers rotate in. It took a time the to out, but once it did, we felt we had something special. It drew poets, emcees, break people that just wanted to listen, singers, horn As the local [but coast-born] rapper, Spekulation, put it, said felt like time Philadelphia the Roots were up. Tapping into something raw like that in the early days was special. When you play live, offer such so much But in studio work, the be more somber. What attributes do you play with range? When I’m standing -- surfing my bench -- some have likened it something Jerry Lee Lewis would do. But, for it feels very organic. And I know it gets cats hyped when they see me excited. It comes out most with Industrial I like rocking and I want to be seated. I want to get up and feel I could do a flip over this keyboard. But in the I never really deeply about it other the I have to a of influences. never my for example, but I play elements of it because studied the technique on years studying classical piano with private teachers during degree program at Cornish so I could the piano -- jazz can be clunky and too rhythmic -- and wanted to I could pour my emotion out through the that way, too. There’s innate with the connection I have to the instrument I I’ve had whole life. I get in the and get in with whatever’s created. it’s studio with Ryan Lewis or a distortion session with Industrial Revelation. I to to every situation. And it comes
 soulful or neosoul-type of musIc. We were hiTting A spOt tHaT I feLt waS so good. Evan had THe opPortunity at Lo-Fi to curatE a nigHt; THe owNErS wantEd him to HAvE A WeeKlY. THe TEaCHiNg had AlsO just foRmed but our DruMmEr, Jeremy JoneS, WeNt on a yoga tRaiNing retreat fOr a Couple Of MonTHs so wE haD diffErent dRUmmers Rotate in. IT tOOk a litTLe time fOR ThE worD to get out, but once iT DiD, We felt we had somEthing SpECiAL. it dRew Poets, emceeS, bReak dANcers, peOPlE THAt jUSt wanted to lisTen, singers, hORn pLayers. as The LOcal [buT east CoASt-bOrn] rapper, SpEkulAtion, put iT, he saiD It felt lIKe the tiMe in PhIlaDelPhia WHeN tHe ROoTS weRE cOmiNG up. tapping iNtO sOmethIng rAW LIKe thAt iN the Early Days was speciaL.

WhEn yoU PlaY live, You ofFer sUcH joy aNd so muCh expReSsion. But often in Your Studio worK, thE sOunD cAn be mORe sombEr. WHat AttribuTes do yoU ThiNk HELP yOu play with range?

WheN I’M STaNding -- or sUrfing MY pIaNO bench -- soMe HavE likENEd it tO somEThIng Jerry lee LewIS wOuLd do. But, FoR me, it fEeLs vEry OrganIC. And i know iT gets catS hypeD When they see me pHYsically get exCItED. it COmes Out The most with induSTriaL RevELaTioN. i feel Like I’M rOCkINg out and I don’t want to Be Seated. i want To get up and feeL like I coulD DO A flip oveR thiS KeYBoard.

But in termS of thE range, I nevER really tHoughT deeply aBout it othER Than the rEfeRenCe I HavE TO a Wide range of muSICal iNfLuences. claSsical mUsiC waS neVer In My wheelhoUse, for exAmPlE, bUt i caN play ELements oF iT beCaUse i’ve stUDied thE techNiquE oN tHE piAno. I speNT tWO YearS sTuDyinG clAsSical PianO WitH privatE teachers DurINg my DeGrEe progrAm at Cornish so i cOuld approaCh The Piano -- jAZZ can be clUnky and too rhythmic -- and I wANted to fEel Like I CoulD pour my emOtiOn out tHroUGh the pIano thAt way, ToO.

ThERE’s somETHiNg iNnAte with the CONneCtion i hAve tO the insTrument that I feel I’vE Had My whole life. I jUst Get iN THe ZonE AnD Get In THe vIBE with whatever’s bEing createD. WHEtHer it’s someTHinG iN the stuDio with ryan LEWis or a rOck-out, disTortion peDaL sesSIOn wIth IndustrIal RevelAtion. I try TO brinG MySelf tO evEry sitUaTioN. And iT comes
 soulful or neosoul-type o f music. W e wer e h itt in g aspot  that I felt w a s so  good. Evan had the op portu ni t y at Lo -Fi t o curat e  a n igh t;  t heow n er s wan ted  him to  have a we ekl y.  The Teachin g  h ad also ju stformed but o urdrumme r,  Je r emy J one s, we nt ona  yogatrainingre t reat f o r a cou p l eof m onths so we had d i ff e rent drummersrotate  i n .I t  to oka little t im e for the wor d  t o g eto ut, but onceit did, wef elt  we ha dsom e thingspeci al .  It  drew poets , em cees, bre ak dan c ers, pe o ple tha t just  wa nte d to li st en,  s i nge r s,  ho r n p layers.As  t he lo cal[ b u t  eas t c oast -born ] rapper, Spe kul atio n , p ut it , hesaid  i t fel t like  theti me in Philadelp hiawhen theRoo ts  we re  comi n g up.Tap pin g intosomethi n g r aw l i ke  that in the early  d a y swas spec ial.
W he ny ou playli ve,  you o ffersuch jo y and so  muche xp re ssion.Bu t ofte ninyou r stu d io w ork, t he sound  canb e more somber. What attribut e sd o  y o u th ink  help you p layw ithrang e ?
Wh e n I’m  stan di n g- - or surfing my pia no  bench  -- s ome have like ned it tos o m ething J erry Le e  Lewis would d o. Bu t, for me, it feels  very  organic . And I k n o w it get s c ats  hy ped w he n they see me p hysi ca lly get  ex cited.Itcom esout  t he most w ith Indu st ri al  R eve latio n . I feel  l ike  I ’mrocki n g outand I  don ’t  w a ntto be s e at e d . Iwa nt  toget  u p and  fee l  li ke I co uld do afli p  ove rth is keyb oard.

But in  t erms of th eran ge, In e ver real ly thought deeply about it othe r t han t he r eferenceI h ave to  aw ide ra nge of  musi ca l i n f luenc e s .Cla ss ical music w asnever  i n my  wheelh ouse, for example, but  I can play e lem ents o fitb ec a use  I ’ ves t udied the techn ique on th ep ia no. I spen t  tw oyears s tudying  clas s ical pi ano withprivate t ea cher s dur ing my deg ree prog ram at Co r nishs oI cou ldapproa ch  th e pia no --j azz  canbe clu nk y andtoo r hy thmic --  and I wanted to feel l ike Icould  po ur my emo tio n  ou t through  the  piano tha t w ay,  too. 

T h ere’s  som e th ing innat e wi t h the con n ec tio n Ihave to the i n str ument  th a t I fe el I ’ve had my wholel ife. I just ge t in t hezon e  and  g et in the vibe  wi th w hatever’ sbeing creat ed. Whet he r  it’s  somet hing i n the s t u di o  withRyan  Le wis or aroc k- o ut, dis to rt i on ped al s es sion w ith In d ustr i a l Revelation. Itry t o bring mys elf t oevery s i tuat ion. And i t comes
 soulful_or neosoul-type_of music. We were_hitting a_spot_that I_felt_was so good._Evan had the_opportunity at Lo-Fi to_curate a night;_the_owners wanted him to have a weekly. The Teaching had also just formed but_our_drummer, Jeremy_Jones,_went_on a yoga training retreat_for a couple of months_so we_had different drummers rotate in. It took a_little_time for the_word to get out, but once it did, we_felt we had something special. It_drew poets, emcees,_break_dancers,_people that just wanted_to listen, singers, horn players. As_the local [but east coast-born] rapper,_Spekulation, put it, he said it felt_like the time in Philadelphia when_the Roots were coming up._Tapping into_something raw like that in_the early days_was special.

When_you play live,_you offer such joy and so_much expression. But_often in your studio work, the_sound_can be more_somber._What_attributes do_you think help_you_play with_range?

When_I’m standing -- or surfing my_piano_bench -- some have likened it to_something Jerry Lee Lewis_would_do. But, for me,_it feels very organic. And_I know it gets cats hyped_when they_see me_physically get excited. It comes out the most with Industrial Revelation._I feel like I’m rocking out_and I don’t want_to be_seated._I want to_get_up and_feel like I could do a flip_over this_keyboard.

But in terms of the range,_I never really thought_deeply_about it other than the reference_I have to a wide range_of musical influences. Classical music_was_never_in my wheelhouse, for example,_but I can play elements of_it because I’ve_studied the technique on the piano. I_spent_two years studying classical piano with_private_teachers during my degree program at_Cornish_so_I could approach the piano_-- jazz can be clunky and_too rhythmic -- and I wanted to feel like_I could pour_my emotion out through the_piano_that_way, too.

There’s something innate with the connection I have to_the instrument_that I feel_I’ve had my whole life. I just get in the_zone and get in the vibe with_whatever’s being created. Whether it’s something in the studio with Ryan_Lewis or a rock-out, distortion pedal session with_Industrial Revelation. I try to bring myself_to every situation. And_it_comes