Resonant Nocturnes and Lively Solo Pieces from Matt Herskowitz
Pianist Matt Herskowitz’ new solo concert album, Upstairs, captures a November, 2011 gig at Montreal’s popular Upstairs Bar & Grill. It has a similar lyricism and gleam as Fred Hersch’s Alone at the Vanguard album from a couple of years ago, albeit with more of a third-stream flavor. It’s a mix of nocturnes and energetic, upbeat material imbued with equal parts classical precision and Herskowitz’ signature improvisational flair and humor.
Amid the crepuscular glimmer and the hjinks here are two showstoppers. The first is a meticulously nuanced solo piano arrangement of Dave Brubeck’s Dzienkuye, a standout track from the late third stream icon’s Jazz Impressions of Eurasia album. Somberly neoromantic, Herskowitz takes it up on a lively and lushly dancing note before a rapt, starlit interlude and then a triumphant outro – it’s no surprise that Brubeck gave Herskowitz the thumbs-up for this.
The quiet, Satie-esque surrealism of Waltz in Moscow builds more eerily and bluesily, veering between those idioms with a vividly pervasive unease. By contrast, Michel Pettruciani’s Cantabile juxtaposes jaunty, often rapidfire ragtime with a middle interlude that more accurately reflects the title. Herskowitz’ dreamy take of Schumann’s Traumerei reminds that he’s just as good at classical as jazz, while an instrumental version of Bella’s Lament – from the the play Bella, the Colour of Love, about Marc Chagall and his wife – reverts to a familiar trajectory from brooding neoromanticism toward a more upbeat narrative.
Herskowitz plays his famous Bach a la Jazz (from the film Les Triplettes de Belleville) like the lark it was to begin with, when he sent the playful knockoff of Bach’s C Minor Prelude from the Well-Tempered Klavier along with a lot more serious stuff to the film’s musical director. The album ends with rousing, impressively hard-hitting, expansive takes on Gershwin’s But Not for Me and I’ve Got Rhythm. It’s out now on Justin Time.
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