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George Russell

  • Composer

    Wasserman owns his own publishing company Andrew Roy Music, and is a BMI composer, songwriter and recording artist since 1995.

    BMI maintains a current catalog of 73 published works and 142 registered recorded tracks with Wasserman as songwriter and composer. Scroll down to the bottom of this page to view the list of his 142 compositions registered with BMI.

    Andy Wasserman LinkTree Link Banner

    SEPTEMBER, 2020 UPDATE: Follow Andy Wasserman on Bandcamp! Check out his many recent recordings of all original compositions for piano:

    Wasserman entered into digital music distribution beginning in June 2007 with licensing to Apple iTunes,, Spotify, iHeart Radio, YouTube Music, BeatsMusic, GreatIndieMusic, PayPlay, GroupieTunes, Napster, Tradebit, MusicIsHere, BuyMusic, SNOCAP and Verizon.

    Andy's compositions and performances have aired on network television stations CBS, NBC, ABC and Cable networks that include A & E, The Lifetime Network, History Channel, Travel Channel, TBS, Nickelodeon, Turner Network, Learning Channel, among others. His work has been broadcast internationally on TV, radio and film in countries that include Japan, Argentina, Canada, Hong Kong, Italy, Finland, the Netherlands, Norway, Ireland, Australia, Brazil, Australia, Belgium, Czech Republic, Mexico, South Africa, Spain, United Kingdom and France.

    JANUARY 2021 UPDATE: Andy Wasserman presented his 25th consecutive weekly Sunday evening Livestreaming Concert series entitled "The Listening Experience" featuring live performances of his original music: solo piano improvisations, compositions, Jazz and Blues, performed on his beautifully restored classic 1924 Steinway Model "M" grand piano.

    He presented over 150 new compositions during this six-month period.

    CLICK THIS LINK to read more in-depth information about this milestone in an article from Andy's blog.

    CLICK TO VIEW the livestream and watch previous performances in the archived video-on-demand playlist

    The January, 2021 issue of The New York City Jazz Record includes a music review written by Jazz author, poet and musician John Pietaro of Wasserman's "PoleStar" live stream solo piano concert (December 13, 2020), appearing on page 5 in the NY@Night section. Read the review by CLICKING THIS LINK.

    Click TRACK button to get current and upcoming live stream concert updates for Andy Wasserman music events at Bands-In-Town

    ~ LATEST NEWS:Andy Wasserman's solos, compositions and arrangements for piano TRANSCRIBED from recordings. These videos allow you to enjoy note-by-note transcriptions as they scroll, synchronized to the audio tracks. Watch, follow and listen! Sheet music PDF files available! CLICK HERE TO VIEW THE TRANSCRIPTION PLAYLIST

    After writing and recording an original score for a WABC-TV (N.Y.) Eyewitness News advertising campaign through Mike Davis of New York Communications and Prime Productions, Wasserman signed a compact disk deal with the Pyramid Music Library. This exclusive needle-drop library of production music is only available to major film studios and television broadcasting networks here and abroad. The product was originally distributed internationally by Micheal Nurko of TRF Music Production Libraries, one of the largest distributors of music-for- visuals in the United States. The CD features 59 edits of 22 original compositions performed on solo acoustic piano by Wasserman.

    Andy Wasserman recorded a second solo piano CD for the "All-Star Composers Library" with Andy Mark as Producer. It was recorded at Clinton Studios in New York City and consists of themes for film and TV in 9 different stylistic genres. It was licensed for release as part of the TWI North American Music Library. Other clients that have commissioned Andy to create original music scores include AT&T, Panasonic, Mastercard, Prentice- Hall, Castrol Motor Oil, Digital Cable Radio, Altered Image, Sanofi- Winthrop Pharmaceuticals, Atlantic Mutual Insurance.

    Andy continues be very active composing and arranging for both Western and non-Western instrumentation. He writes for piano, synthesizers, samplers, electronic percussion, as well as arrange for bands and orchestral ensembles in addition to specializing in world music influenced pieces that incorporate his collection of instruments from around the world.

    Many of his original works have been commissioned as collaborative projects for choreographers and dance ensembles. Additionally, Andy has spent many decades creating and presenting Holistic Music Healing concerts and workshops of original music.

    The heart of Wasserman's inspiration as a composer comes from his mentoring in the LCCOTO by it's creator George Russell and his world renowned theory of tonal gravity "The Lydian Chromatic Concept of Tonal Organization."

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    Andy Wasserman's BMI catalog contains the following registered original music works:

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  • George Russell's Lydian Chromatic Concept

    The Lydian Chromatic Concept of Tonal Organization (LCCOTO) resonates supreme at the epicenter of George Russell's prodigious life work. This innovative band leader, influential composer, legendary educator and philosophically profound master of music devoted 50 years of tireless, purposeful development in forging and generously disseminating his visionary theoretical system. Maestro Russell's singular world-renowned theory reveals an objective, illuminating vista of interrelated and boundless insights into what music is telling us about its own innate nature and reciprocal architectonics.


    "The Concept" establishes an open-ended, pan-stylistic foundation in which levels of tonal gravity act as prime, integral moving forces within music.

    MARCH 2022 NEWS UPDATE: The 2001 fourth and final edition hardcover Lydian Chromatic Concept of Tonal Organization book, published by George and Alice Russell's "Concept Publishing Company" currently remains in print, ships worldwide, and is now exclusively available on both the official and websites. PURCHASE THE BOOK directly from Concept Publishing AT THIS LINK. There is now a "pay over time by installments" option, and you can pay using PayPal, Venmo, and all major credit cards. You do not need to have a PayPal account to purchase the book.
    (Please note: the book is no longer available for purchase through

    Andy Wasserman has been continually active as a teacher of "The Lydian Chromatic Concept of Tonal Organization" since 1982 when he was designated by George Russell as a certified instructor, authorizing him to teach Russell's "Concept" in it's entirety. He was an editorial assistant to Maestro Russell from 1980 until Russell's death in 2009. Information about Andy Wasserman's private teaching can be found HERE. He offers customized online private lessons to students around the world via video chat, phone and email. A website dedicated to Andy's customized internet distance learning music courses can be viewed AT THIS LINK.

    Wasserman's primary aim is to maintain the integrity, authenticity and purity of George Russell's life's work by dedicating the transmission of its invaluable innovation explicitly as Russell and his wife Alice Norbury Russell intended it to be shared - thereby respecting and honoring his monumental legacy for future generations.

    Here is a letter of recommendation written by Mr. Russell about Andy Wasserman and his work with the Lydian Chromatic Concept



    Wasserman first heard Russell's compositions and arrangements on the 1959 Decca Records LP "New York, N.Y." As a native New Yorker who grew up in Manhattan, Andy felt a strong connection with the message, the music, the sounds and the emotions of this brilliant work.

    One of the most comprehensive and sensitive reviews ever published on George Russell's music with primary focus on the "New York, N.Y." recording is by Steven Cerra. You can read this informative, well-written article at THIS LINKto the Jazz Profiles Blog where it was posted on April 27, 2013, or the text only on this site HERE.

    Andy made the decision to move to Boston in 1978 to enroll at the New England Conservatory of Music (NEC) with the definitive aim of apprenticing under the guidance of George Russell, a long-standing Department of Jazz Studies faculty member.

    He performed an original solo piano medley arrangement of Billy Strayhorn compositions in person for Maestro Russell as his entrance audition in Boston, and was approved as a full-time student in the Jazz Composition Division due to Russell's written evaluation endorsement, which declared "applicant accepted: good sense of harmony and orchestration."

    While attending NEC, Wasserman interned as a substitute instructor for Mr. Russell’s classes in the Lydian Chromatic Concept whenever the Russell's “Living Time Orchestra” was on international concert tours and carried out a variety of publishing responsibilities as an editorial assistant for the fourth and final edition of "The Concept."

    He received his Bachelor of Music in Jazz Composition as a protege of Mr. Russell in 1982 along with a certification directly from George Russell to teach "The Concept" privately and in seminars. He has had the honor of assisting George and Alice Russell in preserving and propagating this exceedingly meaningful work ever since.

    Andy Wasserman is one of only a handful of people selected, certified and sanctioned by George Russell to represent his work exactly as he intended it to be taught and shared exclusively using the fourth and final edition book. Wasserman worked on this masterpiece - 20 years in the making - as editorial assistant, and had the honor of writing the foreword.

    Click HERE to view a poster from a seminar Andy gave at The Jazz School (now known as The California Jazz Conservatory) in Berkeley, California.

    George Russell was Andy's mentor in not only the Lydian Chromatic Concept, but also in the art and science of musical composition. Read more about that HERE.


    George Russell stood tall and resolute as a vertical man, meaning he acknowledged, listened to, and gave his undivided attention to a potent transforming magnetic center within. It is this deeply meaningful internal process - his essence -which guided him each and every day. A very high level of integrity, refinement and excellence prevailed in his life. Beauty, truth and goodness took precedent above and beyond anything else.

    An influential and authentically innovative figure in the evolution of modern Jazz, George Russell (June 23, 1923 – July 27, 2009) was one of its greatest composers, and its most important theorist. His The Lydian Chromatic Concept of Tonal Organization, first published in 1953, is credited as a great pathbreaker into modal music, as pioneered by Miles Davis and John Coltrane.

    Most of Jazz music’s most important developments since the 1950s — from modal improvisation to electronics, African polyrhythms to free form, atonality to jazz rock — were taken to another level by Russell’s pioneering work. Russell's Living Time Orchestra has performed throughout the world, including the Barbican Centre and Queen Elizabeth Hall in London, the Festival d’Automne and Cîté de la Musique in Paris, and Tokyo Music Joy. His career as a leader includes major label releases on LP and CD of more than 30 recordings,working with such musicians as Bill Evans, John Coltrane, Dizzy Gillespie, Max Roach, and Jan Garbarek.

    Among Russell's awards are the following:

    • the MacArthur Fellowship "Genius" Grant
    • the National Endowment of the Arts (NEA) American Jazz Master Award
    • two Guggenheim Fellowships in Music Composition
    • six NEA grants
    • three Grammy nominations
    • the American Music Award
    • the British Jazz Award
    • the Kennedy Center Living Jazz Legend Award
    • the Swedish Jazz Federation Lifetime Achievement Award
    • election to the Royal Swedish Academy of Music

    The New England Conservatory of Music bestowed an honorary Doctor of Music degree on George Russell in 2005 after Russell retired from the faculty, having taught 35 years in the Jazz Department (1969 - 2004). Learn more about NEA Jazz Master Russell's work at New England Conservatory HERE.

    Russell's music compostion commissions include the British Council, Swedish Broadcasting, the Glasgow International Festival, the Barbican Centre, and the Massachusetts Council on the Arts.

    He taught throughout the world, and was a guest conductor for Finnish, Norwegian, Danish, Swedish, German, and Italian radio. Russell has been the subject of documentaries by National Public Radio (NPR), NHK Japan, Swedish Broadcasting, and the BBC.

    The Music Division of The Library of Congress commissioned an essay for inclusion in the program notes honoring George Russell at his May, 1999 Living Time Orchestra concert in the Library’s historic Coolidge Auditorium in Washington DC. CLICK THIS LINK TO READ THE ESSAY IN PDF FORMAT.

    The Art and Science of Tonal Gravity

    George Russell's LYDIAN CHROMATIC CONCEPT OF TONAL ORGANIZATION - The Art and Science of Tonal Gravity is one of the most important music theories of all time.


    1. What is the Lydian Chromatic Concept of Tonal Organization? The Lydian Chromatic Concept of Tonal Organization is a theory of music and the life work of George Russell. It has existed in a state of continual evolution since the early 1950s. The most recently released Fourth Edition (2001) is entitled “Volume One: The Art and Science of Tonal Gravity.” This new publication presents the work in a highly comprehensive and organized manner, totally surpassing any previous editions. Most people familiar with this body of knowledge refer to it simply as “The Concept.”

    2. What is the aim of the Lydian Chromatic Concept? The principal aim of The Concept is to grasp the behavior of all musical activity (i.e. – melody, harmony, rhythm and form) from the most objective viewpoint possible. It seeks to document observations within music’s “genetic code” by charting the framework of laws that act as guidelines for composition, improvisation and analysis. Its purpose is to provide a road map of the musical universe that tells you where all the roads are, but does not tell you which roads to take.

    3. What is the primary difference between the Lydian Chromatic Concept and all other theories of music? Unlike any other theory of music, Mr. Russell’s Concept establishes gravity as the driving force in music. By seeking what music ITSELF is telling us about its own elemental structure, The Concept supplies the necessary means to conceive that a gravitation field of tones exists as a self-organized order of unity. The Concept does not disprove the discoveries and contributions of other musical theories, but rather explains where their truths rest in the context of tonal gravity.

    4. What is Tonal Gravity? Tonal gravity is the heart of the Lydian Chromatic Concept. Simply put, the basic building block of tonal gravity is the interval of the perfect fifth. Every tone within Western music’s equal tempered tuning relates to every other tone by either being close to - or distant from - the center of gravity, which is the tonic (or “DO”) of the Lydian Scale. There are 3 states of tonal gravity: Vertical, Horizontal, and Supra-Vertical.

    5. Why is the Lydian Scale of paramount importance in this Concept? The Lydian Scale was not chosen as the primary scale for this system of music theory because it sounds nice or has some subjective or historical significance. Since the interval of a fifth is the building block of tonal gravity, a seven-tone scale created by successive fifths establishes the most vertically unified harmonic order whereby the gravity falls down each fifth back to the singular Lydian tonic. When seven ascending consecutive fifths (i.e. – C, G, D, A, E, B, F#) are arranged within one single octave, the result is the Lydian Scale.

    6. What is the fundamental difference between the Lydian and Major Scale? As described in the answer to the previous question, the Lydian Scale has one single tonic, otherwise known as the “DO” of the scale. The Major Scale is known as a diatonic (meaning: two tonic) scale. Therefore, the essential difference between these two scales is that the Lydian (a single tonic scale) is in a state of unity with itself, and the Major Scale, with its two tonics, is in a state of resolving.

    7. What is a Lydian Chromatic Scale? The Lydian Chromatic Scale is the most complete expression of the total self-organized tonal gravity field with which all tones relate on the basis of their close to distant magnetism to a Lydian tonic. 

    8. Are there any historical and acoustical foundations underlying the Concept? The recently published edition of the Concept goes into great depth and discussion concerning the historical and acoustical foundations underlying the Concept. These ideas are critical to understanding the significance of this theory, and are too involved and elaborate to post on this website. It should be noted that the current book presents these specific subjects far more extensively than in previous editions.

    9. Who can most benefit by studying the Lydian Chromatic Concept? One of the beauties of The Concept is that it is designed for musicians and non-musicians alike. Its contribution is relevant in all stylistic genres of music and from all time periods. It even extends beyond Western music to some ancient forms of non-Western music. Most students of The Concept tend to be composers, improvisers, and people interested in the analysis of already existing musical compositions. Many people outside of music are drawn to The Concept due to its objective view of tonal gravity. George Russell’s indelible mark as a jazz innovator, composer and band leader (along with his work as a theoretician) has established a platform worldwide for this work that is intrinsically tied to the development of jazz dating back to the early 1950s. 

    10. Does a student of the Concept have to abandon their already existing knowledge of Western music theory? Students of this work are able to adapt their own musical perspectives to the ideas presented by the Lydian Chromatic Concept of Tonal Organization. For example, analysis of compositions by J.S. Bach and Maurice Ravel are included in the current volume to reinforce the all-inclusive nature of tonal gravity.

    GeorgeAndy1996cropWEB11. Is the current revised edition dramatically different from the previous editions? Yes. Generally speaking, the previous editions of the Lydian Chromatic Concept of Tonal Organization (dating back to 1953) were focused more on the “how-to” aspect of improvising. The more robust, comprehensive and detailed current volume adds never before published depth and dimension through exhaustive examples of analysis, scales, background information and test examples for the student.

    12. What are the extra-musical considerations of the Lydian Chromatic Concept? George Russell’s Lydian Chromatic Concept of Tonal Organization stretches far beyond the usual parameters of music theory, having deep roots linked to the science of acoustics, physics, world culture and political history. Its framework is applicable in almost any stylistic genre of music – both Western and non-Western – encompassing the European classical tradition as solidly as the lineage of jazz innovators. On the esoteric side, the “Concept” makes connections with psychological disciplines and spiritual pathways, nurturing a balance between both the internal and external extra-musical elements critical to any artistic process.

    13. Are there any connections drawn in The Concept between music and psychology? No art form or theory is complete without some basis in psychology and spirituality. Artists most often describe the process of creativity in transparent and intangible terms. Most - if not all - music theoretical systems have chosen to ignore the inclusion of this key internal element. While Mr. Russell’s system encourages each student of the “Concept” to explore their own ideas and paths, it freely discusses many potent ideas underlying some specific psychological perspectives and ancient wisdom traditions and the relationships between one’s ‘essence’ and ‘personality’. Ancient psychological systems made analogies between the evolution of a person’s mind and being and metaphorical terms such as scale, harmony, vertical and horizontal.

    14. Has the Lydian Chromatic Concept been taught at any established educational institutions? Mr. Russell played a key role in the famous Lenox School of Jazz, and went on to teach The Concept at the New England Conservatory of Music in Boston for over 30 years. He has given seminars in this work around the world and has personally guided countless private students. The Lydian Concept is being taught by accredited teachers at the Universities of Massachusetts and Indiana, the Longy School of Music, and the Josef Hauer Konservatoriums in Austria. The previously released versions of the book have been used to teach the LCCOTO at colleges and universities around the world over the last 40 years.There are currently a small number of instructors in the United States, Europe and Japan who are formally certified by George Russell to teach the Concept.

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    The following text, written by Andy Wasserman, is the foreword to the current, in print publication of George Russell's Lydian Chromatic Concept of Tonal Organization - Volume One, The Art and Science of Tonal Gravity (Fourth Edition, 2001, Concept Publishing Company)

    GeorgeLeadsPathWEBAs you will soon discover for yourself, the Lydian Chromatic Concept of Tonal Organization requires us to think in a new way. While it is inevitable that you will bring what you know to the Concept, you will soon realize the dramatic difference of this musical landscape where tones, scales, chords, and modes resonate within the Principle of Tonal Gravity. In order for this to begin to work within you and within your music, it is strongly suggested that you give these ideas your complete openness and attention, and, even for brief moments, let go of your preconceptions of the theoretical foundations of Western music. The knowledge that appears in this volume of the Lydian Chromatic Concept has been distilled very carefully to allow students of the Concept to adapt their own musical perspectives to this one.

    The unified core of ideas at the root of the Concept has the potential to transport music into a realm of deeper meaning. Opening up to those possibilities requires patience, concentrated thought, and dedicated study. Therefore it is important to realize that you cannot assimilate these ideas from too narrow a basis, either intellectually or emotionally. By making the effort to absorb the terminology and structure presented here, your musical foundation can be made stronger and the connections between you and your music more intelligent. Once the unity of the Concept begins to penetrate your practical understanding, everything in it becomes useful. It is then that its message challenges you to inquire musically and psychologically into the things you think and feel. For this reason, it is crucial to embrace the Concept from an emotionally receptive position of seeking something genuine for yourself in a world where most music is far removed from innovation and excellence. To do this requires a willingness to learn that emanates from self-motivation. The Concept has a unique way of interpreting and translating the things of great value that music can tell us--something about the meaning of organization and gravity. Its purpose is to generate new pathways toward greater freedom in exercising aesthetic judgment and discernment that invoke a more objective fulfillment of musical statement. The focus, attention, and consciousness you put into the study of the Concept will uncover greater meaning and an expansion of your musical understanding, regardless of the stylistic genre of music to which you apply it.

    Throughout this course of study you will notice that terms like vertical, horizontal, and the relationship to states of tonal gravity signal an eloquent departure from the major-minor consonant-dissonant system that is commonly taught to students. This specific language, when integrated into your thinking, can bring about personal advancement that will convey insight and innovation to your craft. The ideas are interrelated for a unity like that of a mandala, rather than the compartmentalized, noncontiguous elements that form commonly accepted notions of musical behavior. By its very nature, the Lydian Chromatic Concept will give you a fresh outlook that can aid in bringing life to your musical understanding. This requires you to master a sense of independence and self-awareness. Try to "visualize" the relationships presented in this book by "hearing" its knowledge with an inner ear that is capable of formulating your own singular musical ideas through the experience of an internal focus. This focal point can help you decipher between the superficial, mechanical associations you may be accustomed to making in your compositions or improvisations and the quality of consciousness that allows many levels of subtlety to come into play. Simply to imitate what others have played and composed is not enough.

    It may be beneficial for you to consider adopting a reciprocal attitude to digesting the Concept whereby the energy you give while implementing its ideas will fuel your passage through unexpected doors of discovery. Having a specific aim while working with the Concept can he helpful. Whether you are a composer, instrumentalist, improviser, educator, arranger, or theoretician, and even if you come to this book from outside the profession of music, finding an aim as you work will allow you to put this knowledge into action and have it work for you. Use this book as a map to help you aim for that which extends beyond your customary approach. This will require you to examine some basic questions about the meaning behind an organization of musical tones and why you play or write music. As you absorb this knowledge and become more intimate with its fundamental principles, such as the actuality of a passive "do" which yields to everything in scale that is higher that itself (Chapter II), you can begin to unearth a vision of your innate "response-abilities" within your musical discipline. At its essence, The Lydian Chromatic Concept of Tonal Organization creates a self-organized and infinite range of possibilities for us to master.

    Used by Permission: Concept Publishing ©2002 All Rights Reserved


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  • Piano

    PianoConcertHallMOwebThe piano is Andy Wasserman's main instrument and the heart of his life's work in music. It is a perfect vehicle for the totality of his creative artistic expression. 

    His solo piano compositional and improvisational style fuses spontaneity, expressive nuance and subtlety, harmonic intimacy, rhythmic intricacy, and an eloquent spectrum of polished dynamic gradation.


    Andy Wasserman began exploring piano at age 3, and started lessons at 7 in the innovative Robert Pace multi-key method. He studied piano and theory at the Metropolitan Music School with Anne Dodge from elementary through high school in Manhattan, moving on to develop a life-changing 30-year relationship with Jazz piano virtuoso Dwike Mitchell. Mitchell discusses mentoring Andy in the "New York" chapter of his biography written by William Zinsser entitled "Mitchell and Ruff." (photo: Maestro Dwike Mitchell and AW)


    MARCH 2021 UPDATE:Two of Andy Wasserman’s 2020 piano albums, “FLOWERS” and “THE SEVEN VERTICAL SCALES” received nominations from for “ALBUM OF THE YEAR” in the JAZZ genre category - alongside Jazz pianist Alan Pasqua’s beautiful album “DAYDREAM.” Gratitude and best wishes goes out to all the piano aficionados, appreciative listeners and the staff at SoloPiano who continue to support the artistry of solo piano music!

    JANUARY 2021 UPDATE: A review in The New York City Jazz Record magazine of Andy Wasserman's solo piano Live Stream concert on December 13, 2020 entitled "PoleStar."  Click HERE to read the review

    DECEMBER 2020 UPDATE: Andy Wasserman celebrated his 25th consecutive Sunday evening Livestreaming Concert series entitled "The Listening Experience" featuring live performances of his original music: SOLO PIANO improvisations, compositions, Jazz and Blues, performed on his beautifully restored classic 1924 Steinway Model "M" grand piano. CLICK HERE to read more about this milestone in an article on Andy's blog.

    These programs are free-of-charge and require no registration or login to view.


    A MESSAGE FROM ANDY WASSERMAN - "On The Source of Inspiration I Have To Share With Listeners"
    ~ As pianist and musical artist, I aspire to connect the totality of fingers, open heart, style, temperament, chord/scale unity, rhythmic solidarity and flowing, singing melodic lines.
    ~ To be imbued with resonance from the core of my soul, infusing my touch on the instrument with poetry, wisdom, intuitive intelligence, love and imagination through vertical and horizontal wonderment.

    Click this "track" button to get current and upcoming live stream concert updates for Andy Wasserman music events at Bands-In-Town:

    ~ NEW FOR 2020 ~Andy Wasserman's solos, compositions and arrangements for piano TRANSCRIBED from recordings. These videos allow you to enjoy note-by-note transcriptions as they scroll, synchronized to the audio tracks. Watch, follow and listen! Sheet music PDF files available! CLICK HERE TO VIEW THE TRANSCRIPTION VIDEOS

    Andy earned his degree from New England Conservatory as a protege of Jazz composer George Russell and the Lydian Chromatic Concept of Tonal Organization (LCCOTO) and received advanced classical piano training under Ms. Jeannette Giguere.

    Wasserman developed his signature sound, combining an expressive piano touch with an impressive technique. His performances merge his original compositions along with original arrangements and unique interpretations of the Jazz, Hollywood and Broadway "American Songbook" legacy. He is well versed in modern and traditional Chicago & Kansas City Blues and Boogie Woogie piano styles, 'new age', traditional standards and pop repertoires. His rhythmic invention and elegant harmonies stand as a living tribute to the tradition of fine music, past and present. Wasserman is a highly respected and experienced performing musician, popular throughout the United States since 1971.


    In addition to his experience in a wide variety of ensemble settings, he has established himself as one of New York City's premier solo piano and electronic keyboard stylists. Wasserman was under contract with the American Federation of Musicians Local 802 from 1987 through 1996 for an uninterrupted nine-year solo piano engagement, performing every weekend on the Steinway grand in the Ambassador Room of the United Nations Plaza Hotel across from the United Nations in New York City. He has been a regular pianist at other fine New York City establishments that include the Grand Hyatt Hotel at Grand Central Station, The River Cafe at the Brooklyn Bridge, Dish of Salt at Rockefeller Center and Manhattan's Hotel Intercontinental, among many others.

     As of 2017, Andy Wasserman continues to perform in club and concert settings, at festivals, special events and private parties.


    He is also a highly experienced and in-demand instructor of piano for beginner, intermediate and advanced students in all styles. Click THIS LINK if you would like to learn more about taking piano lessons with Andy Wasserman, and visit THIS LINKon this website, or visit his PIANO LESSON CITY website for in-depth information on his customized private real-time online music lessons (internet distance learning) via webcam video chat, phone and email. To read student testimonial reviews CLICK HERE.

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    All music composed, arranged, performed, recorded and produced by Andy Wasserman

    Listen to his latest album releases: now available for purchase on BANDCAMP

    Each album jukebox player contains the entire album playlist with all tracks! Click the "track advance" arrows in lower-right of each player to hear more tracks.



    AWlogo2webAndy was nourished and nurtured with an enduring foundation in the American Songbook treasures of show tunes and standards through his Mom and Dad.

    Their West Side Manhattan apartment life was invigorated by aesthetic sophistication and an unwavering reverence for all artistic disciplines, especially the deep love and devotion to great music. Eating supper together around the dining room table was a happy family time spent listening to and joyously singing along with the best of Broadway musical soundtrack records spinning on the turntable.

    From the 1950s through the 1970s, Andy's parents afforded their son nonstop opportunities to attend Broadway shows live on stage and experience a myriad of classical, jazz and world music concerts along with frequent visits to Manhattan's landmark museums and public cultural events. This inspirational upbringing was monumental in fostering Wasserman's cultural awareness as he matured into the artist he is today, for which he remains eternally grateful.

     Here's a 59 track compilation mix :: "THE BEST OF" Andy Wasserman on SPOTIFY

    Over 5 hours of piano music for your listening pleasure

    Andy Wasserman Standing By Steinway Grand Border LoRez GooglePost web 

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