Grammy-nominated organist Pat Bianchi returns with Confluence, a trio recording that captures the immediacy, risk, and emotional arc of musicians playing fully in the moment. Joined by saxophonist Troy Roberts and drummer Colin Stranahan, the album leans toward the energy of a live performance rather than the polish of a studio document, embracing spontaneity, extended forms, and the beauty of imperfection.

In this conversation, Bianchi reflects on the chemistry within the trio, the evolving role of the organ beyond traditional soul-jazz expectations, and the lifelong dialogue with mentors such as Dr. Lonnie Smith and Joey DeFrancesco. He discusses instinct, groove, and storytelling in improvisation, the decision to leave Wise One as a single exposed take, and the ongoing pursuit of growth through deep engagement with the instrument’s lineage. What emerges is a portrait of an artist committed less to perfection than to presence—seeking honesty, momentum, and discovery in every note.

When you listen back to Confluence now, does it feel closer to a live gig than a typical studio record? Was that something you were consciously aiming for?

In some respects yes. Many tracks are a bit longer than your typical “radio friendly” CD, but also there is the general approach. There is generally a sense of “going for it” on many of the tracks, for better or worse. So that resulted in more of an in the moment kind of vibe to everything even if it at times it could appear as rough around the edges. In the end, I do want my recordings to be that way. It can give the listener a sense that they are attending a concert, mistakes and all. Speaking only for myself, the kind of performance I described above is always much more memorable that the perfect take or solo.

You’ve played with a lot of great rhythm sections over the years. What do Troy and Colin give you on the bandstand that feels different?

I feel fortunate to have played with so many incredible and somewhat notable rhythm section player for sure. Each one makes me play different, as it should be since its different people interacting with each other. Colin is a creative cat and his playing encompasses many of what could be considered “sub genres” with in Jazz. Troy is just a beast.. everything about his playing and musicianship push me to grow and reach higher in my own playing..

When people hear “organ trio”, what assumptions do you think they still make — and which ones are you most keen to move away from?

The assumption with the term “organ trio” usually includes the associations of things like Soul Jazz, Blues, funky grooves, greasy and things like that. Elements I love to hear and play when the moment calls for it. But it’s not so much about steering away as it is checking out other things and including them my approach. I also love John Coltrane, Wayne Shorter, Kenny Kirkland, Herbie Hancock, Brad Mehldau and others .. With certain kinds of compositions, it can be a challenge to pull off on organ, but I love the process of trying to figure out how for example how to pull off a Chick Corea composition on the organ and have it sound natural.

Early on, did you ever worry about sounding too close to your heroes like Dr Lonnie Smith or Joey DeFrancesco, or was that never really an issue for you?

Early on no, I just loved the music and their approaches so much.. I wanted to sound like that. Later in my life I tried to steer myself away from those influence because I did feel I sounded too close to them (there were times people said they couldn’t tell me apart from Joey) but now it doesn’t matter to me. I will never be them, I just do my best to be true to myself and play how ever I play.

When you take a tune like “Jitterbug Waltz” and put it in 7/4, where does that idea usually start — with rhythm, feel, or something more instinctive?

I think in the case of Jitterbug Waltz, I was just messing with some rhythms and ironically while walking my dog later that evening, the idea for applying it on the song sort of just came to me. Actually the intro and the first 4 bars of the melody are actually in 4/4 .. but the melody and rhythm is displaced.

The take of “Wise One” was done in a single, unrehearsed pass. What made you decide to leave it that exposed rather than try another take?

I think Wise One just felt right.. as much as perfectionist as I tend to be, there really is no such thing as perfection. Also the take as a whole had an arc to it, dynamics, emotion.. why mess with it? haha..

In the middle of a solo, are you thinking more about groove, harmony, or storytelling — or are you mostly reacting in the moment?

At times with things like difficult chord changes or complex music that is not internalized there is some thought involved, but generally it’s all about reacting in the moment. Otherwise there is so much involved in actually playing the organ that most conscious though will slow you down.

You started playing organ very young. Do you feel you approach the instrument differently now than you did in your twenties? If so, how?

For sure, back then I thought more about “what” I was playing vs “how I was playing” .. Articulation, phrasing, rhythm and dynamics always have more impact that some hip scale or solo line..

Looking back, was there one gig, tour, or collaboration that really changed how you saw yourself as a bandleader?

Not particularly .. I am generally an introverted person and sometime a little to quiet! So every band leader opportunity helped to get me out of my shell.. Also, I’ve spent a lot of my musical moments as an apprentice to some pretty well known legends so my bandleader time is not as lengthy as others. But my experiences as “hired help” along with the experiences I have had as a bandleader have helped me grow in general. There is so much more to leading a group than one might realize and there are always ways to improve.

There are more strong organ players around now than ever. Do you feel that pushes you creatively — and where do you still feel you want to grow?

To be honest, I am not sure I agree with the statement that there are more strong organ players around now than ever. There were a lot of cats in the 60-70’s that most people never heard of that were dealing on a very high level.

Of course there are a lot of great musicians playing organ these days, which is a beautiful thing and it is so great to see more and more people gravitating towards “the beast” .. But I’ve come to realize that what pushes me to grow is still referencing the masters.. ie Jimmy Smith, Jimmy McGriff, Larry Young, Joey DeFrancesco, Don Patterson, Dr Lonnie Smith, Groove Holmes, Shirley Scott etc. etc .. But the list of ways I still want to grow is endless, that is why I still practice incessantly. But now more than ever I also enjoy the process and journey of learning more.