Shai Maestro joins forces with MARO for Gloria, from the album The Guesthouse that finds its power in pure, lyrical simplicity. Stripped back to just piano and voice, the track offers a masterclass in raw emotional resonance. Read on for our discussion with one of contemporary jazz’s most visionary pianists.
Please describe your new album sound in 3 words
Expansive, intimate, eclectic.
Tell us a few things about The Guesthouse. What is the story behind it?
The title The Guesthouse is inspired by the poem by Rumi. It speaks about welcoming every emotion that enters, even the difficult ones, as if they were guests. That idea resonated deeply with me and became a central concept for the album.There are two layers to that idea of “guest.” The first is emotional. Like in the poem, it’s about allowing any internal state to enter the music without resistance, whether it’s joy, doubt, or discomfort.The second is musical. The album brings in a number of musical guests, including MARO, Immanuel Wilkins, and Michael Mayo, among others. Each one brings a distinct voice, and the music is shaped around that interaction. It’s about welcoming different influences, sounds, and directions into the same space without forcing them into a single identity. At the center of it all is the piano, which provides the foundation and continuity throughout the album. From there, the music expands outward through these different forms of “guests,” always guided by openness and listening.
You’ve mentioned that the melody for “Gloria” came to life on a small keyboard during an EasyJet flight. At what point in that process did you hear MARO’s voice on the track?
I started hearing MARO’s voice as soon as she confirmed she would be part of the recording. That immediately gave me direction. The lyrics actually came very late—basically the day before the session. I was out of time, so I had to let go of control. Instead of overthinking the writing, I just imagined her singing. That helped me bypass my own “lyric-writer ego,” and the words came much more naturally.
You were classically trained from age five. Is there a specific “ghost” of a classical composer that still haunts your improvisations today?
Yes, absolutely. Classical music is a fundamental part of my musical DNA. If I had to name one central figure, it would be Bach. Through his music I learned counterpoint, composition, harmony, and a large part of my technique. His influence is deeply embedded in how I think about music.At the same time, composers like Debussy and Ravel are also very present, especially in terms of color and harmony. So it’s not just one ghost—it’s more like a constant dialogue with that tradition.
Is improvisation a talent or a skill?
Both. There may be a natural inclination, but without developing it through practice, listening, and experience, it doesn’t go very far.
You discovered jazz through Keith Jarrett and Oscar Peterson. If you could ask these two one question, what would it be?
I would ask Keith Jarrett what he actually practices, and what philosophy guides that practice. And I would ask him how he developed that level of courage in his playing.
How has your definition of success changed between your debut and now?
Completely. I see success now as something shared rather than individual. I’m less affected by extremes—I don’t lose my balance after a bad concert, and I don’t get carried away after a great one. There’s more stability.I’ve also become more aware of the context we’re in. In a chaotic and often violent world, the act of making music together and sharing it with people feels meaningful in itself. That’s something I value much more now.
In which place or state of mind do you imagine people might listen to your music?
I don’t try to define that too much. We’re constantly changing, and the way we hear music changes with us. The same album can feel completely different depending on the day, the mood, or even the hour.If you listen to it while you’re sad, you’ll hear it through that lens. If you’re in a different state, the experience shifts. So my focus is simply to be as honest as possible in the music. After that, it doesn’t belong to me anymore.
If the music of Shai Maestro was a film, which film would that be?
I’m not sure about a specific film, but hopefully something directed by Christopher Nolan, Quentin Tarantino, or Martin Scorsese as I’m a fan of all of them.
One thing not many people know about you?
I’m deeply into learning languages. I spend a significant amount of time every day studying them.
Thank you!
Follow Shai Maestro
Instagram/Facebook
Follow our playlist Sonnets for the Big Screen on Spotify/Deezer feat. Shai Maestro
Secret Eclectic 