Traditional ragtime occupies this fascinating but awkward niche in today's American musical culture: it's not quite classical, it's not quite jazz; from the former it gleams a certain resistance to experimentation and change, from the other, a certain embrace of it. It is the original and quintessential American mashup, a mix of classical European influence and "low-class" African and African-American rhythms, and yet has been overshadowed by the genres it spawned, like jazz, rock, and pop. Ragtime gave rise to a century of syncopated music, but today most people (even many musicians) know of it only in passing. I was once one of those musicians, a classically born-and-bred composer-pianist who only became completely enamored of ragtime (and its many syncopated possibilities) several years ago. In this album I've taken what I love about ragtime—melodic syncopations over a more-or-less steady accompaniment—and expanded out in the different directions my ears and fingers took me. You'll hear strong influences of Bach and Schumann in my own pieces—but also Monk and Wynton Kelly—which aim for a longer dramatic arc than the traditional segmented, strophic rag. In addition, taking a cue from jazz, I experiment heavily with the three classics in this recording by William Bolcom and Scott Joplin, rewriting and improvising in the traditionally repeated sections for a little extra zest, fun, surprise, and of course, counterpoint! Included on the album are nine heavily researched, thoroughly opinionated, and conversationally informal tracks mixing ragtime history with personal history, along with supporting musical examples. Subjects range from the specific (what is syncopation?) to the philosophical (what is originality in music and art?), and are targeted toward musicians and non-musicians alike.