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Quotes

"All of these achievements are impressive enough, but it is Bijan’s personal charm and outgoing personality that have earned him the many performance opportunities in such a wide spectrum of musical endeavors."
-- Robert Estrin, LivingPianos

"He is easily able to adapt to any musical setting." 
-- Brett Ecklund, 
​   KX 93.5 FM Jazz Quest Radio Host

About: Bijan Taghavi

A pianist known for his expressive touch, rich harmonies and lyrical improvisations, Bijan Taghavi is emerging as a distinctive solo artist while maintaining an international career as a collaborator and a leading voice in jazz education. As Brett Ecklund (KX 93.5 Jazz Quest Radio) observes: “the trifecta of mind, body, and spirit is the holy trinity of a musician’s overall potential, and—after starting with the physically demanding discipline of classical music, then developing his feel through the spirit of the blues, and then fluently speaking the intellectually sophisticated language of jazz—Bijan is now the living embodiment of musical manifestation through human form.”

As a collaborator, Bijan has worked with many of Jazz’s most celebrated icons including Rodney Whitaker, Carmen Lundy, Luther Hughes, Joe Lovano, Stefon Harris, Lewis Nash, Joe LaBarbera and John Webber, as well as prominent next-generation voices such as Allen Dennard, Erena Terakubo, Giveton Gelin, Roxy Coss, Altin Sencalar, Tyreek McDole and Will Lyle. He also curated a Duo Series at the National Arts Club NYC, which included collaborations with Dick Oatts, Rich Perry and Jay Anderson.

As a leader, Bijan has entertained audiences across the United States, Japan, Mexico and Europe with his Trio and as a solo pianist. His trio recordings with bassist Will Lyle--TrioGram and TrioGram II ft. Joe LaBarbera—have been hailed as “one of the most refreshing piano trio records in some time” (The Big Takeover), with Textura noting that “Taghavi’s lithe compositions bring the trio’s [Bill] Evans-like side to the fore.” Bijan’s orchestrational imagination has drawn critical attention, whether over jazz standards like “Days of Wine and Roses” or adapting Afro-Cuban chants like “Asojano” and pop songs like Dido’s “Thank You”. London Jazz News praised his ability to “make [a tune] piano-trio friendly by putting all this orchestration behind it… a completely separate skill, and separate from even improvising… that only he could have come up with.” 

While equally at home in duo, trio and larger group formats, Bijan has increasingly made his mark as a solo pianist—an arena often described as the pinnacle of jazz piano expression for its vulnerability and scope. His solo performances have been praised for their orchestral depth, dynamic range and use of all 88 keys to paint a variety of moods. Pianist Art Olson summarized his approach as “restrained elegance,” noting, “Bijan has several gears available if he needs them, but he always chooses beauty.” His forthcoming release, Cactus Sessions, captures this artistry at its most personal: spontaneous, one-take explorations of the music of Antonio Carlos Jobim and the Great American Songbook, filtered through Bijan’s musical lens. Both intimate and expansive, the album positions him firmly among the important solo jazz pianists of his generation. His widely circulated Solo Piano Transcriptions and Jazz Play-by-Play analysis videos have received millions of views online and are studied in conservatories worldwide, from his alma mater, Manhattan School of Music, to BB Music Academy in Tokyo.

Bijan is also a celebrated composer and arranger. While he has written large ensemble works for studio orchestra, big band and other chamber groups—including performing his music at the John F. Kennedy Center for the Performing Arts as part of the Betty Carter Jazz Ahead Residency—his true passion lies in tune-writing. Following in the tradition of Thelonious Monk, whose legacy fits into a slim book of one-page lead sheets, Bijan has developed a songbook of tunes that marry accessibility with depth. As Bijan’s long-time collaborator, bassist Will Lyle observes, “Bijan’s sophisticated melodic compositions unite the worlds of traditional jazz, third stream and the classical canon.” Bijan’s “Changes” has been praised as “the best recent jazz composition” and compared to classics like “Stella by Starlight” for its potential to become a modern standard. Fred Hersch—renowned for his high standards in composition—also praised “Changes”, a rare nod of approval that affirmed Bijan’s growing reputation as a composer whose tunes are poised to enter the shared language of modern jazz.

Alongside a busy performing career, Bijan is Adjunct Professor of Jazz Piano at Hillsdale College and mentors students in over ten countries through his innovative Video Exchange Lessons program. He was also a guest panelist for “Hearin’ The Changes”, Luther Hughes’ weekly masterclass at California State University, Fullerton, appearing alongside renowned jazz educators Bert Ligon, Bill Cunliffe, Chuck Israels and others. Bijan has taught Beginning Improvisation and Advanced Musicianship at Michigan State University and has also served as an educator for JazzPianoSchool.com, where he published over twenty articles and produced instructional videos for their Artist Highlight and Gig Analysis series.

Bijan’s musical journey began at the age of three when he was inspired to play the piano by a film entitled El Dorado, which featured Elton John. He was classically trained under the mentorship of Robert Estrin, studying the monumental works of Rachmaninoff, Liszt, Chopin, Beethoven and Bach. Together, they toured California as part of Robert’s LivingPiano: Journey Through Time: Historic Concert Experience where they explored the history of the keyboard in musical performance, dressed up in period costumes. Bijan played the role of “Young Mozart” by performing Mozart's works on the fortepiano. Bijan also performed numerous classical solo piano recitals, accompanied Metropolitan Opera Singer Eric Jordan, and performed the Grieg Piano Concerto with the South Coast Symphony as a first-prize winner of the Young Stars of the Future Competition. 

Bijan’s foray into jazz began his junior year of high school after a performance with Grammy Latin jazz flutist Nestor Torres at SOKA Performing Arts Center. Aided by his perfect pitch, Bijan assimilated the music instantly. Soon thereafter, he discovered the music of Oscar Peterson and Kenny Barron, and jazz quickly became his passion. A recipient of the Presser Foundation Scholarship, Bijan then earned his Bachelors of Music in Jazz Piano Performance at the Manhattan School of Music and his Masters of Music at Michigan State University; he studied with Phil Markowitz, Fred Hersch, Garry Dial and Xavier Davis.