In recent years, the art of Jazz has become more and more entrenched in pedantic study and technical proficiency for its own sake at the expense of the profound search for Truth and the jubilant exposition of free expression represented by its most revered masters. Composer/pianist Robert Mitchell is a throwback to that powerful tradition of artistic mastery in pursuit of transcendence. Whether performing in the solo context or with his ensemble Panacea or any of his other formats, Robert’s focus is upon the highest ideals of the essence of Jazz.

Like many artists who grew up in the post-60s environment, Robert was exposed to a full gamut of musical disciplines from hardcore Western Classicism through World music traditions. Growing up in a musical family – his father was a vocalist who organized variety shows and participated in the great production of Carmen Jones at London’s Young Vic Theater – Robert began serious piano studies at the age of 6 in the established UK conservatory system. Blending this with a listening love of Soul, R&B and popular music of the 70s/80s, Robert began to develop his own sense of musical expression.

An epiphany occurred upon hearing the legendary Jazz pianists Art Tatum and Oscar Peterson “at just the right time for my ears and heart,” provoking the young pianist to “understand the components that made their approaches so special….and to begin discovering how to make my own versions of that special beauty.” Continuing to pursue his formal education, a BSC degree followed at City University in London, which included a course of study at the prestigious Guildhall School of Music and Drama.

In the early 90s, Robert began to emerge as an important member of the London scene with two groups Quite Sane and Tomorrow’s Warriors. Poles apart in their music and purpose – New York influenced fusion/hip-hop vs. 40s-60s bebop/hardbop – the diversity foretold Robert’s wide-angle view of Jazz expression. This quickly led to further involvement with internationally known figures from both sides of the Atlantic, including Steve Coleman, Greg Osby, Courtney Pine and Steve Williamson.

All of these experiences focused Robert more heavily upon his personal expression of what he needed to contribute as composer and bandleader.

“I am convinced that each era of great creativity has been marked by a consistency of intent, and within bands, a consistency of personnel.”

In the current environment, that consistency of personnel is quite difficult to maintain, but with consistency of intent and an organic approach that Robert explains as “meeting every unexpected situation with a solution,” Robert has forged a variety of structures within which he has been able to pursue the full scope of his powerfully expansive musical vision.

Over his nearly 20 years entrenched in the art of music, Robert has recorded nine albums of his own projects, participated in over 100 as a sideman and has performed in 40 countries.

These days his primary focal points include his long-running ensemble Panacea; his new trio Epiphany 3 (Tom Mason and Saleem Raman) with special guest dancer Masumi Endo, solo performance (including a current fascination with one-handed works, which produced one solo album The Glimpse (Whirlwind) and festival – Leftitude – in 2013 – to which he returns to record more lh only works soon); he also continues to work with the legendary Courtney Pine CBE, French saxophone great Julien Lourau, French sax innovator Stephane Payen, young saxophonist Tom Harrison, Cuban violinist Omar Puente, Miles Bould’s USONIC, Orphy Robinson’s All Stars, South African education, percussion and conflict resolution genius Eugene Skeef, and new free jazz/radical poetry group StagerLee Wonders. He has recently recorded on albums by Julien Lourau and Courtney Pine CBE.

His latest album ‘ A Vigil For Justice. A Vigil For Peace.’ (DOF001 – 2017) is for piano trio and features extensive original poetry inspired by the rapid political change in atmosphere in recent times, against the backdrop of so much unrealised human potential and vast inequalities. This is presented on his own label – Depth Of Field. The poetry features amongst a debut collection of the same name also released in 2017 . In 2014 – his first large scale work – Invocation – was successfully performed by the grammy winning Bournemouth Symphony Chorus, Goldsmith Big String and students from Avonbourne and Harewood at St Peters Church (Bournemouth) and the Queen Elizabeth Hall (London). Robert is now working on another large scale work – The Spirit Line – which is a tribute to the ever more prescient wisdom of the Zuni people of Arizona/New Mexico.

Working with longtime U.S. arts consulting and management organization, Outward Visions (George Russell, Steve Reich, John Zorn, Art Ensemble of Chicago, World Saxophone Quartet). As his reputation has consistently grown as one of the UK’s most serious and respected composer/pianists, Robert Mitchell is ideally suited to be a powerful force in the newest developments of both the music and its business environment