Connie Crothers, Bill Payne

Connie Crothers is a member of that unfortunately not-so-exclusive club of first-rate jazz improvisers who (for reasons unfair) have been relegated to the fringes of the jazz public's consciousness. Why she's not more well-known and/or critically acclaimed has nothing to do with any lack of skill or originality, for Crothers has both to spare. Perhaps the determining non-musical factor in her neglect is the fact that she's an unrepentant disciple of that most neglected of jazz geniuses, the late Lennie Tristano. The knotty intricacies of Crothers' hyper-linear style are indeed frequently invested with her mentor's measured reserve, yet her manifestly intellectual approach to the demands of jazz improvisation does not preclude the expression of emotion. Crothers' playing is very intense; for all her self-possession, she can be quite extroverted. The defining aspect of her style is the freedom she conveys and exploits within the circumscribed boundaries of jazz's standard small-group format. Crothers began taking piano lessons and composing at the age of nine. As a youngster, she frequently played recitals and concerts, sometimes performing her own compositions. She attended the University of California at Berkeley, where she majored in music with an emphasis on composition. Crothers could find little with which to relate in contemporary approaches to composition, so she turned to jazz as a creative outlet. She became enamored of Tristano's music, and in 1962 she moved to New York in order to study with him. Formal and informal lessons continued with Tristano for ten years. In 1972, Crothers began performing privately for small audiences in Tristano's home. After a year of these, Tristano produced her first "gig": a solo concert in Carnegie Hall. In 1974, Crothers recorded her first album, Perception, on the SteepleChase label. The next year, she returned to Carnegie Hall in a performance with tenor saxophonist Warne Marsh, drummer Roger Mancuso, and bassist Joe Solomon. In 1979, Crothers co-produced (with saxophonist Lenny Popkin) the Lennie Tristano Memorial Concert at Town Hall in New York; that same year she also co-founded the Lennie Jazz Foundation. Crothers recorded Swish, a duo album with drummer Max Roach, in 1982. In the '80s and '90s, the pianist worked as a soloist and in groups that at various times included Popkin, alto saxophonist Richard Tabnik, tenor saxophonist Charlie Krachy, bassist Cameron Brown, and drummer Carol Tristano, among others. Crothers remains at or near the center of a group that perpetuates the Tristano ideal, though her own music retains a personal identity.
— Chris Kelsey , All Music Guide