Pianist/composer nitai hershkovits
returns with the release of new place always
Even though it has been 17 years since I took my rst Piano lesson, its’ familiarity doesn’t reveal itself fully. It is almost
like coming back to a place I’ve visited before, yet have never been to. is means introducing myself to people again,
nding myself and blending in smoothly. Only when I look at life with a carte blanche state of mind, then I can see the
immense value of the piano and muse it as an instrument to carry the message and emotions I want to deliver.
Eight of the tunes were written in the studio together with Rejoicer. Before the recording, I had all kinds of ideas,
though we wanted the music to t the piano and the room, so I wrote most of it there. e rest of the tunes consist of
songs that were composed in NY and hand-picked renditions of music by people who inspired me at that time.
e orientation of the music in this album inhabits a plethora of in uences one of such is my oddly infused heritage:
My grandfather’s tales from his weekly visits to the king’s palace at the illustrious Dâr-al-Makhzen in Rabat where he
was singing together with Rav Haim Louk, his eld trips to the desolate mountain sceneries of the Atlas, and learning
regional hymns. On the other hand, it was my grandmother who shed light on Israeli folkloric myths which originated
in East-Europe while listening to her man playing old Polish country songs on his Harmonica.
e album is expansive with a total of thirteen short songs. In order to create a dynamic, full range tableau, I had to
unlearn and reconcile the composition process as known to me and nd new ways to evoke creative ideas in me. I tried
to omit the ideas of borders in genre and make music — Red Wagon Go and Explaining Sage were both written using a
pentatonic scale (a scale comprised of ve notes), which gives the melody a particular depth and focus. is could be
compared to using a limited color scheme in painting which draws the attention to the hues and structure of the piece.
e desert calling of South To Cairo merges the seminal works of Jazz pioneers such as Charles Mingus (especially on
Mingus Plays Piano) and middle-eastern icons such as Oud player Farid al-Atrash and Lebanese singer Fairuz with my
own inference. Go Go stay has a gurative melody that shi s in between abstraction and guration until it nally
solves to a simple triad chord. Annette & Issac is a through-composed vignette with no improvisation, with ideas
drawn from 20th century’s composers like Scriabin and Ravel; capturing the sound from the microphones located in
the ceiling and corners of the studio, giving this fable-like piece the color I was looking for.
e music is only half-existent without a third ear. It’s the alchemical union between the composer and the listener’s
understanding of it. Here’s to my mentors who guided me along the way so far and for all of you who, like me, look for
a musical hideaway from the daily life routine and enjoy the passivity of listening to a piano playing.