Eyes of the Beloved (original)September 12, 2018
Ode to Rangda (original)September 12, 2018
Scapes (Quartet original)September 12, 2018
Sojourner (Quartet original)September 12, 2018
Ab Waltz (Trio original)September 8, 2018
Pure Imagination (Trio)September 8, 2018
Lady Grinning Soul (David Bowie, arrangement by John Bianculli)August 26, 2018
Us and Them (Pink Floyd, arrangement by John Bianculli)August 26, 2018
John Bianculli is a lyrical and soulful pianist and composer.
A self taught, accomplished and versatile musician, John was born and raised in New York City’s Greenwich Village. He got much of his training playing the jazz circuit from New York to Washington D.C.
As pianist for international jazz recording artist Steve Nelson for over five years, and Jeanie Bryson for over 10 years, John has also worked with Cassandra Wilson, Terence Blanchard, Regina Belle, Charlie Rouse, Bobby Watson, James Spaulding, Jimmy Ponder, Bill Hardman and Earl May.
John’s dynamic original music is a unique blend of jazz, Latin, Brazilian, rhythm and blues, and world music. His original music can be heard on Telarc and Dream Box records.
John’s compositions have been performed by his quartet, quintet and sextet in New York City at the Blue Note, Jazzmania, Jazz Cultural-Theatre, Greene Street, the Rainbow Room and Jilly’s; in Washington D.C. at the One Step Down and Blues Alley.
John Bianculli has enjoyed a considerable following at the Hyatt Regency for 18 years and New York Hilton for 2 years.
“Exploring Continuum was and is like playing and creating music. Like a jazz musician deeply listening, exploring, learning, playing, improvising and creating all in the moment. Responding and adapting to what’s there in my inner and outer world and evolving beneath and beyond that…moment by moment…moving with it, into it around it…and then all of a sudden outside of time.
I love how the field of Continuum is like music in so many tangible, organic, sensual and mysterious ways. It is the resonant field of life and the universe from all directions in all its frequencies and fluidity, magnificently orchestrating the never ending score of scores.”