At the piano, I listen for how the contortions of the hand can suggest the surges of a body in motion. In my trio music, I’m often evolving rhythmic shapes, shaping gestural patterns with an embodied resonance, and striving to evoke specific qualities of movement with our performed rhythms. Someone once compared us to the Flying Karamazov Brothers, with their coordinated, cyclical, antiphonal actions. I see the work of the rhythm section as a ritual of collective synchrony, aiming above all to g...