For over two decades, Bill Anschell has been known throughout the Pacific Northwest as a go-to acoustic pianist for jazz musicians. In addition to his sought-after skills as a pianist, he has also built a career as a composer and bandleader, consistently shaping and directing the sound of his own ensembles.
Despite the strength of his legacy on acoustic piano, Anschell recently shifted toward a more experimental direction. His latest album, Improbable Solutions, marks his first full-length project that merges synthesized textures with live instrumental performance. The record showcases digitally altered piano lines interlaced with electronic effects, all while retaining the spontaneous energy of real musicianship. This fusion isn’t a sudden detour, however; Anschell’s curiosity for electronic music began early in his life.
Reflecting on his early influences, Anschell recalled being drawn first to progressive rock and eventually to fusion music that incorporated synthesizers. His passion for electronic sound design was strong enough that, while attending Oberlin College, he would have majored in electronic music had it been an option. His experiments grew deeper with time, especially once the digital age made high-quality software synthesizers widely accessible. Anschell began crafting purely electronic compositions, one of his favorite efforts being the original score he created for a podcast by KNKX.
In the creation of Improbable Solutions, Anschell admitted to diverging from traditional jazz recording practices. Unlike his previous acoustic trio album, which was recorded live without corrections, this new project was built in layers. He pre-recorded his piano parts before inviting the bassist and drummer to contribute their performances. Still, the interactive spirit of jazz remained intact, as the rhythm section responded to his playing, and he later revisited the piano tracks to adjust them based on their contributions.
This method suited his compositional approach well. Anschell explained that he has a strong enough ear to mentally arrange complex pieces without initially playing them on the instrument. This helps him avoid the common trap of defaulting to what feels comfortable under the fingers. Instead, after completing a composition in his head, he refines it at the piano to ensure it aligns with his vision, often tweaking it extensively before finalizing the structure.
Live performances of Improbable Solutions present their own challenges. Of the album’s nine tracks, Anschell and his group perform five in concert. He selected the pieces he felt could be authentically recreated on stage. Several tunes lean heavily into progressive rock territory—an influence present in the album’s studio version but one that the live band doesn’t fully embrace. Anschell acknowledged that, even personally, he no longer holds the same affection for progressive rock as he once did.
As both a bandleader and a highly regarded sideman, Anschell recognizes the different demands each role places on him. While leading offers him the joy of presenting his own music and choosing collaborators he respects, it also introduces pressures that can interfere with his improvisational flow. In contrast, supporting roles provide a kind of freedom and unpredictability that he finds refreshing. Yet, despite these challenges, he values the opportunity to lead, especially when it means sharing the stage with musicians he admires.
In Improbable Solutions, Anschell has found a way to bridge his lifelong love of jazz piano with his enduring fascination for electronic music. The result is a project that stretches genre boundaries while still honoring the improvisational heart of jazz.
Related Topics
- Loot Audio Releases Expressive Balvi Cello Library for Kontakt
- Apocalyptica Returns to Türkiye with “Plays Metallica Vol. 2” Tour
- East Bay Piano Teacher Turns Competition into Catalyst for Young Musicians
