Liz Gorrill was born on October l7, l949 in Glen Cove, New York. She received a toy piano on her second birthday and began improvising her own versions of the Christmas Carols. When she was four years old her father, who was a violinist, bought a reel-to-reel tape recorder. Liz began improvising songs about her life into the tape recorder: "Ballerina", "My Sister Is Lovely", "We Shall Have a Nice Daylight", "Cows In The Meadow", "White Slip Too". She had a gift for spontaneously creating words and melodies, a natural vibrato, and no fear. (She hopes someday to produce a children's CD with these tapes, and continues to strive to get back to that fearless state.)

 In l970 Liz found her way to the Berklee School of Music in Boston and began studying jazz piano. Her first gig was at a nearby Naval base, playing in a big band for a twin sister act from Florida. She soon began working club dates around town with drummer Bill Chattin and bassist Scott Chambers. She and Bill eventually formed a quartet with vocalist Kathy Sillaway and bassist Fred Stone.

It was at Berklee that Liz met Harvey Diamond, a jazz pianist unlike any other she had heard. His connection to the instrument was electrifying, his music beautiful and original. She began studying with him. One day he played Lennie Tristano's "Requiem" for her, and told her a little about this pianist who had been his teacher. A year later Liz bought a copy of the record and spent an entire afternoon dancing to "Requiem" and "Turkish Mambo". Her response to Lennie's music was one of pure joy. The yearnings of her childhood had been answered. She felt connected at the deepest level of her being to his musical expression. She called him soon afterwards and began commuting from Boston every week for lessons. A year later, in l973, she moved to NY, began working part-time as a typist, and devoted herself to learning how to improvise.

In l977 Lennie began presenting her in concert at his home, and in March of l978 he presented her in a solo concert at Carnegie Recital Hall. Robert Palmer of the New York Times was there and wrote "Miss Gorrill is onto something very original...she is a striking talent...and a talent with a strong personality." In January of l979 Liz took part in the Lennie Tristano Memorial Concert at Town Hall as a soloist and with flutist Fran Canisius. In March of that year she played a second solo concert at Carnegie Recital Hall which Lennie had arranged for her to do. This concert was released on the Jazz Records label as a 2-record set entitled "I Feel Like I'm Home". Mark Gardner of Jazz Journal wrote in response to this record "Liz Gorrill is a pianist of astounding complexity and accomplishment." Art Lange in Downbeat commented on her "excellent examples of musical invention and a sterling technique." Tom Rohan of Victory Review called it "...some of the most exciting music I've heard in a long time..." and Victor Yee of The Tarakan Music Letter wrote "Liz Gorrill's name isn't exactly a houshold word in jazz circles, but there is every reason to believe that it very well could be in years to come..."

Liz was a founding member of the Lennie Tristano Jazz Foundation. In l980 the Foundation presented her in a third concert at Carnegie Recital Hall. Richard Sudhalter of the New York Post wrote of this concert "There was energy, dynamic force, fire and light. Miss Gorrill is a sure, authoritative pianist and the possessor of a clear and true soprano voice."

During these years Liz had been influenced by many great musicians on the scene. Among those was pianist Connie Crothers. To Liz's ears, Connie had created an entirely new musical language with her dazzling harmonies and her original approach to the piano. Connie's dedication to her life as an artist was a constant source of inspiration to Liz. After Lennie's death, she studied improvising with Connie for several years. Their friendship and association continue to this day.

In l98l Liz began a series of engagements leading her own trio. With Pete Scattarettico on drums and Harvie Swartz on bass, she played at a club in NYC called "Eric's", and performed in concert at Mercy College in Dobbs Ferry, NY. During this time she also played a solo concert at LaPiana Piano Studio in NYC.

In l983 she took part in a concert at the Third Street Music School in NYC, A Tribute To Lennie Tristano, playing a duet set with tenor saxophonist Warne Marsh. During that year she also began a collaboration with Lenny Popkin on tenor sax and Eddie Gomez on bass. This resulted in the l985 release of "True Fun" on the Jazz Records label. This record was voted among the Top Ten of the year by Lois Moody of the Ottawa Citizen and Victor Schonfield of Jazz Journal who wrote "...the outstanding achievement is the Suite of three free-form improvisations (for Vincent Van Gogh)...it is surely one of the few of today's performances which will be studied twenty years from now." Mark Heinemann of Victory Review wrote "Gorrill's fireworks and Popkin's soft lines blend well...the music is emotional and gives strong visual images." Alan Bargebuhr of Cadence wrote "...Everyone in full flight...Strength honoring strength...An exceptional trio makes for exceptional music."

In l985 Liz played at the Jazz Hall of Fame in NYC with drummer Roger Mancuso and bassist Dave Shapiro. Her musical association with Roger had begun in the early l970's when they began sessioning regularly. They have continued to play and record through the years, and hope to release a CD together sometime in the near future.

In l987 Liz had her first one-person show as an artist at the Lawrence Gallery in NYC, exhibiting her abstract pastels. In l988 The Ward-Lawrence Gallery opened downtown and Liz had two shows that year, "Jazz Atmosphere" and "Right Hand Land". She played at the opening night receptions with Carol Tristano on drums and Joe Solomon and Cameron Brown on bass. These were the first public performances in which Liz combined the art forms she loved, and she was thrilled to be able to play surrounded by her pastels. Her artwork has since been commissioned for several album and CD covers, as well as for private collections.

In l988 Liz released her first record on the New Artists label, a duet with guitarist Andy Fite entitled "Phantasmagoria". Liz had always been fascinated with the combination of piano and guitar. She and Andy sessioned together every week for a couple of years before recording. Robert Iannapollo of Option wrote "Pianist Gorrill and guitarist Fite present an impressive series of duets that deal in complex harmonies, intricate interplay, and consummate musicianship." Lois Moody of the Ottawa Citizen noted "a lot of conventions and rules are broken...an intense, harmonically challenging session." Tim Smith of Cadence wrote "An exceptional recording...A perfect duo that hopefully will appear on record more frequently."

In l989 Liz and Andy played a concert as part of the Greenwich Village Jazz Festival in NYC. In l99l they released a second CD together, "Cosmic Comedy", recorded in concert at Greenwich House in NYC. Bjarne Moelv of Folket in Sweden stated "It's a colossal CD...Duo of world class." Lois Moody, writing for No Name Jazz NEWS, noted "An exciting collaboration...inventive interplay for the sake of new direction..." and David Dupont of Cadence wrote "Nine improvised duets full of rare grace and emotiona nuance...Highly recommended."

In l989 Liz played a duo concert with tenor saxophonist Charley Krachy at Greenwich House in NYC. This was released in l990 on the New Artists label as "A Jazz Duet". Francis Davis of the Village Voice wrote "'A Jazz Duet' summons up memories of piano-and-saxophone duets you only think you've heard - testimony to its power..." Bill Tilland of Option stated "this music displays the courage of its aesthetic convictions, and it's a welcome antidote to all the faceless neo-bop and fuzak which seem to constitute about 90% of recent jazz releases." Lois Moody called it "a demanding and creative performance" and Mark Gardner of Jazz Journal stated "With all its complexity, the music maintains a momentum and inner logic that is a tribute to the participants...a most stimulating set..." Liz and Charley continued to perform together, playing at Sweet Basil and The Blue Note in NYC in l99l. They performed at the College of New Rochelle in l992, and as part of the The Concert Series at the Holy Name of Mary Church in Croton, NY in l996 and l997.

In l990 Liz gave a solo concert at Greenwich House in NYC which was released on New Artists as "Dreamflight". Wif Stenger of The New York Press wrote "Gorrill's inner trip is as harrowing and exhilarating as white-water boating, and just as breathtaking." Lois Moody called it "another testament to her individuality...a mysterious, personal inner world is opened to the listener." Stuart Broomer of Coda commented "...she takes it to lengths and weights that can suggest Busoni..." and John Baxter of Option noted "...thick clusters of notes and right-hand filigree that travel off at strange angles, all held together by an insistent swing...an originality that makes tracing her influences difficult...Gorrill clearly is a major pianist."

In l99l Liz began studying Soaring Crane QiGong with Ronger Shen and Yi Wu, a couple from China who are both extraordinary visual artists and healers. The beautiful movements and deep meditative states of this practice had aprofound effect on every aspect of Liz's life. She was introduced to the world of energetic healing, and to the possibility of art and science merging to create something new.

In l992 Liz travelled to Belgium to do a solo concert at deSingel Internationaal Kunstcentrum in Antwerp. Excerpts from this concert were broadcast on European radio. In l995 Liz stopped playing the piano due to muscle weakness in her arms. She moved out of NYC and began living in a small town in upstate NY. She spent two years in solitude and, to her surprise, began the extraordinary experience of deepening her life as an improviser under the tutelage of Nature. A magical world opened to her, and she began to play again. Her interest in the healing aspects of music and creativity grew, and she began studying Energy Medicine, expanding on what she had begun learning in QiGong. In l997 she played a solo concert as part of the "Jazz Fest at Tusten" in Narrowsburg, NY. She combined music, art and poetry to create a unique performance. Later that year she performed again at the Tusten with poet Walter Keller and bassist John Hart, improvising with piano, voice and movement to Walter's poetry.

In l998 Liz released a solo CD on New Artists which she recorded in her home entitled "For The Beauty Of The Earth". David Lewis of Cadence called it "...a startling solo piano record...an adventurous program that is simply exquisite." Lois Moody, writing in Marge Hofacre's Jazz News, stated "Solo piano and voice have long been Gorrill's channels to and from a rich inner life...this is a highly personal and original musical experience." Stephen Israel of The Times Herald Record awarded it the "For The Beauty Of Her Music Award", stating that "Her music not only was inspired by the currents of the river and the feeling of the wind through the trees, but also sounds like those forces of nature...she makes you truly appreciate the wonder of it all."

In April, June, and September of 2000, Liz performed at Birdland in NYC as part of the New Artists series. She introduced her own trio with Roger Mancuso on drums and Ratso Harris on bass, and co-led a quartet with Charley Krachy. In September of 2000, she performed as a solo dancer at the Stillpoint Conference for Advanced Energy Healing in New Hampshire, collaborating with musicians Fred Johnson and Steve D'Annunzio, and dramatic reader Michaela Delegianis. This was especially meaningful for her, bringing together her childhood love of dance, her affinity for the beautiful movements of QiGong, and her love of improvising. She plans to explore future collaborations as an improvisational dancer, and has begun creating solo performances that combine her love of music, dance, art and poetry. Liz was also a featured workshop presenter at the Stillpoint Conference, presenting a workshop entitled "Birthing The Creator Within."

Liz currently lives in upstate New York, where she continues to be a student of Nature. She has completed a book entitled "Entering The Rainbow" which combines music, art and writing. She is presently on the faculty of the Stillpoint School For Advanced Energy Healing, serving as an assistant teacher to Meredith Young-Sowers. Liz began studying Intuitive Diagnosis with Meredith in l997. Her experiences with Meredith and the community of people at Stillpoint have had a profound effect upon her life, her health, and her work. They have influenced the development of Liz's new work, which she calls "Pure Mirrors - Healing For Inner Evolution." In one-on-one sessions, either in person or long distance, Liz creates improvised works of music and art that read, reflect and release inner energy, assisting people as they journey through physical, emotional and spiritual challenges. Julie Motz, author of "Hands Of Life," has experienced Liz's work and calls it "exquisite and unparalleled." Howard Keiser, a writer and artist from Vermont, states that "Liz has the Touch of Life. She doesn't touch one with her fingers, but with her music and her radiant energy." For a brochure which gives a more detailed description of Liz's work, you can contact her at esg@catskill.net.