Full Review

Andy Ezrin, I Was Here Review

No instrument in jazz has been more fertile, adaptable, or evasive than the piano. At once the most workaday of tools—where songs are composed, recomposed, arranged, and rearranged—and the source of sublime, in-the-moment flights of ecstasy, the piano is a paradox of precision and freedom. Andy Ezrin understands this dual nature and celebrates it in his latest release, In I Was Here. The thirteen song project focuses on the piano as the scaffolding of composition but also as a canvas for spontaneous innovation, painting with broad strokes of emotion and delicate filigrees of improvisational nuance.

Ezrin’s career spans countless collaborations with top-tier vocalists and instrumentalists, brings all his skills to bear on this record. From the funky fusion tones of “Grapes” to the reflective, melodic whispers of “Snowfall,” Ezrin demonstrates that the piano is a tool that can be an extension of his creative voice. The album reflects a life lived at the keys—structured yet open to the thrill of the moment, allowing both composition and improvisation to shine.

The powerhouse ensemble on the album consist of some of the finest musicians in contemporary jazz. Trumpet virtuoso Randy Brecker, known for his impeccable time feel and warm, round tone, adds his distinctive voice to several tracks, while saxophonist Donny McCaslin, celebrated for his fluidity and expressive range. Bassist John Patitucci, whose rich resonance and melodic sensibility anchor the group, locks in with the elegant and dynamic drumming of Marcus Gilmore and Ari Hoenig. Together, they create a cohesive yet flexible foundation, allowing Ezrin’s compositions and improvisations to flourish. Through the various ensemble setting, each composition has an energy structure and exploration, making I Was Here a cooperative success.

“Grapes” opens with a burst of creative energy, underscored by Brecker’s trumpet and McCaslin’s tenor sax. Ezrin’s piano chords structuring the harmonic canvas as Patitucci and Gilmore convey energy through the straight-eight contemporary groove. Ezrin’s solo is an example of how he uses the piano as a space for lyrical exploration, each phrase crafted in the moment, expressing melodic themes and clear rhythmic direction. It’s the first of many moments where Ezrin’s formidable technique never overpowers his gift for storytelling through his improvisations.

“This Is What It Is” leans heavily into that storytelling mode, with Ezrin opening with a solo piano figure reminiscent of Keith Jarrett’s jazz language. The transition to McCaslin’s expressing the melody on his tenor saxophone. The composition has an interesting structure with various textures and densities, blending into one continuous narrative. Ezrin’s performance on piano and Fender Rhodes introduces a dialogue between past and present jazz expressive tools. McCaslin’s solo weaves through harmonic twists with a playful bluesy style that is anchored by Patitucci’s grounding bass lines and Gilmore’s interactive drumming.

“Greenwoman” offers another perspective of Ezrin’s compositional skill as it opens with a stimulating tutti melody performed by Patitucci and Ezrin. The multi-sectional form is organic in its progression of melodic development and feel changes. Here, the piano again functions as a foundation for the harmonic mood of the ensemble and as a vessel for in-the-moment interplay. Ezrin and McCaslin trade solos with increasing intensity, their lines interweaving like strands of a single, evolving idea.

“Luna,” the first trio setting of the album, strips everything back, permitting the chemistry between Ezrin, Patitucci, and drummer Ari Hoenig to be the focus. It’s here that Ezrin’s artistry as a composer and improviser shines most clearly. The poignant melody, tinged with jazz and folk elements, offers a straightforward, familiar framework that Ezrin quickly expands upon during his solo. The interaction between the trio is excellent. Patitucci’s bass solo resounds of lyricism. Overall, the performance evokes the elegance of the Bill Evans Trio’s spirit of interaction within today’s folk jazz esthetic.

As the album progresses, it’s the lyrical tracks like “Siren Song” and “Snowfall” that reveal Ezrin’s gift for improvisation within his composition’s framework. “Siren Song,” has a beautiful melody and a sinuous soprano sax solo from McCaslin. Ezrin’s piano accompaniment feels like a conversation between structured chords and McCaslin’s free-flowing improvisational phrases. Ezrin keeps this conversational feeling alive during his solo as he deepens the rhythmic palette with Hoening and the grounding the countermelodies of Patitucci.

“Snowfall,” meanwhile, offers another rhythmic and harmonic feel to the album with its European Jazz overtones. By playing both the piano and Rhodes in the melody sections, Ezrin adds interesting orchestrative colors. The trio creates a rhythmic landscape that shifts elegantly, supporting Ezrin’s Bach-like compositional sensibility with its contrapuntal figures. Ezrin’s solo focuses on this theme as he leads voices through logical developments. Patitucci’s electric bass solo adds a fresh layer to this compelling piece, enhancing the trio’s already magnetic interplay with his dazzling upper-register fret work.

Ezrin and the ensemble continue exploring the piano’s role even further. “Ain’t That Some Shit” delivers bluesy funky sixteenth-note setting with Ezrin’s dual use of piano and Hammond B3 for a colorful surprise. On “I’m Runnin’ Outta Time” finds his compositions, full of twists and turns, keeping listeners on their swing toes, with moments of playful syncopation and sly interludes adding to the variety.

The concluding solo piano track, “Cascades,” brings the album full circle. Here, Ezrin is alone with his instrument, allowing the piano to transform from workbench to canvas in real time. The catchy main motif is developed with grace, moving through harmonic shifts that feel natural and are inventive in there harmonic coloring. Ezrin’s touch, from gentle whispers to bold statements, captures the essence of this entire project and the piano’s expressive voice: a balance of precision and freedom, structure and spontaneity, percussion and pitch.

In I Was Here, Andy Ezrin gives us an album that honors the tradition of jazz piano. Celebration the piano as a tool for composition and a open canvas capable of capturing the grand and the fleeting spark of inspiration in the moment. Ezrin’s technical skill is undeniable, but it’s his emotional transparency and creative ingenuity that truly make this record stand out. That’s the short of it!