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| Jacky Terrasson |
The Anglo-French pianist Jacky Terrasson brought his latest
quartet to the intimate surroundings of Smoke Jazz & Supper club for a three set, three
night engagement this past weekend. A
young talent from the start, Jacky gained widespread recognition after winning
the prestigious Thelonious Monk competition in 1993 at the age of twenty-seven.
Now in his forty-eighth year, Terrasson has established himself as a major
voice on the piano with his imaginative medleys, where he re-works songs from the American songbook, combining
them with more contemporary classics. In this gig he was joined by his bassist
Burniss Travis III, drummer Jonathan Pinson and percussionist Mauricio Herrera. Terrasson is an in-demand pianist who performs
at many festivals as well as prestigious piano showcases around the globe. It
was a special treat to get to see this ebullient artist up close and personal
and the superb surrounds of Smoke, with its outstanding
acoustics and room for a Steinway grand, is the perfect venue to catch such a
performer.
Terrasson is as energetic and artist as you will find and it
is this joyful energy that makes his “live” shows so appealing. It is amazing
how many kilowatts this slender man can generate when he sets himself at the
keyboard. He can be delicate or brash with an attack that is sometimes stabbing
or appropriately gentle. Clad in red
shoes and striped socks, his feet are constantly in motion, keeping time, setting
the pace; sometimes torrid, sometimes languishing. Bassist Travis held constant
eye contact with the pianist, sensing his moves, reacting to the changes and
anticipating the breaks in tempo.
Drummer Pinson peered watchfully from behind his cymbals; at times propulsive,
but often delicately transitioning with whisper accents all according to the
direction taken by the leader.
Terrasson started the set off with a repeating vamp
eventually blossoming into his own percussive version of the Rogers and Hart
standard “My Funny Valentine.” He
included brief references to the traditional folk song “Billy Boy” and introduced
swinging interludes that sent the crowd to cheering. Forever the performer,
Terrasson eventually morphed the song into a cha-cha with some spectacular
pianistic runs, before returning to the main theme in his own inimitable way.
On Juan Tizol’s “Caravan,” Terrasson started the song by using
the inside soundboard of the Steinway to create a slowly building, driving
beat. The band joined in, all using
their instruments percussively, creating a rhythmic backdrop of sound that led
into the familiar melody. Terrasson is
an extremely animated pianist, part a moaning Keith Jarrett part a dancing
Jerry Lee Lewis, always kinetic in his approach. The pianist discarded his
jacket allowing himself more freedom of motion and you could see the
perspiration dampen his shirt rapidly as the enthusiasm oozed out of his pores. The man loves playing and it shows. He again
morphed the classic “Caravan” into the Michael Jackson tune “Don’t Stop Till
You Get Enough” to the audience’s delight.
Terrasson started the next song moaning along with his slow
and sensitive introduction to the classic “You Don’t Know What Love Is” before introducing
elements of other songs into the ballad. Pinson was particularly deft at
creating a barely perceptible beat with his soft mallets. Burniss had a
poignant solo on bass, as Terrasson stabbed at a note on his piano in the
background creating the clang of a school bell.
A brief side road into smaltz was heard as Terrasson introduced the theme to the film “Summer of 42” into his
playing before he raised the tempo a notch with a funky vamp that had a
strutting quality to it, eventually returning to the coda of the original
song.
During his “live” performances there is always a sense of bearing
witness to the music being spontaneously created. Even within the confines of a practiced repertoire, no two versions of the
same songs are ever played alike. Terrasson can change direction at any time,
with his band mates having to be prepared to instantly adapt to wherever the
leaders imagination takes them.
The Miles Davis song “Nardis,” famously associated with the
Bill Evans trio, was the next selection of the evening. Terrasson noodled on
the theme, along the way interjecting snippets of “Smoke Gets in Your Eyes”
along with whatever else struck his fancy. Once again, as he does so well, he
transitioned the Davis tune into a rendition of the Paul Desmond/Dave Brubeck
classic “Take Five,” with its syncopated 5/4 beat, before eventually returning back
to the Davis original. “My Favorite Things” was another brief detour and then a
rousing reprise of the Desmond classic at the end.
In true Christmas spirit, Terrasson ended the set with a
little taste of “Santa Claus Is Coming to Town” before leaving the stage as the
crowd applauded appreciatively. Jacky Terrasson’s latest album is titled Gouache .
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